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goji-pilled · 3 years ago

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Okay @princekirijo you want an essay? Well here it is now, or as I like to call it Felix's "Asumari is great and this fandom has no fucking taste" rambling and infodump. Congrats fellas, thanks to Prince you ALL get an asumari essay. But before that I'll try to give you a rundown of Mari and Asuka.

(I'm also so sorry for putting this long ass post on everyone's dashboard)

(Spoiler warning for Evangelion 3.0+1.0 Thrice Upon a Time!!)

Alright on one hand we have Mari Illustrious Makinami. Her whole deal? She's a walking ray of sunshine, literally lol. Unlike any other character in the Evangelion franchise she doesn't suffer from her trauma, she's quite literally the only healthy and functioning human being, she's just slightly leaning towards "batshit crazy" with the stunts she pulls 🤷‍♂️. Other than that she just loves living, she loves being with people, she keeps moving forward, stays positive and decides to live life to it's fullest even after she experiences loss and multiple apocalyptic events (Second Impact, Third Impact, etc.) and she really just embodies the joy of living. That's all there is to her, or at least all we know.

On the other hand, we have Asuka Langley Shikinami who is... well it's hard to explain what she is to be honest. She's part-German and part-Japanese and part of a line of clones specifically made with the purpose to pilot an Evangelion and later on be used as a sacrifice to trigger another Impact (ITS COMPLICATED I KNOW-) Asuka is, unlike Mari, very much suffering from her trauma. She doesn't have her parents and has a very deep seated belief that she's completely alone, which she says doesn't matter as long as she can pilot the Eva. She also very much wants to fight and kill angels all by herself, and it's seriously messing with her when she can't achieve that.

Now we get to the more interesting parts (hopefully this so far wasn't too confusing, then again it's Eva and even I can't fully wrap my head around it all LMAO)

In the second Rebuild movie (Evangelion 2.0 You can (not) advance) we get introduced to both of them, Mari's introduction scene (in the original English dub) has her pilot an Eva and singing about how she'll take the world on by herself, while in the third movie's (Evangelion 3.0 You can (not) redo) opening scene she's piloting the Eva again but this time it's together with Asuka (in her own Unit 02 though) and during that Mari sings about how wonderful it is not to be alone. It's nothing big yet, but it's a really cute detail me thinks,,, you know what else I love about them? They bicker and they banter and it's genuinely so fun to listen to shskdhsuwj

(For a quick catch up: During the end of 2.0 Shinji (the protagonist) triggers another apocalyptic event, the Near Third Impact, and was only stopped due to Kaworu (the guy in my pfp) stepping in. Also between 1.0/2.0 and 3.0/3.0+1.0 are about 14 years (without Shinji bc he's like comatose) where A LOT happens AND we learn in 3.0 that Eva pilots don't age physically bc of "The curse of the Eva"... honestly Eva is wild lmao)

Okay okay I'll get back to it!

So one thing that happens is that Asuka during 2.0 develops a crush on Shinji (girl why-), unfortunately things take a turn for the worse. Asuka had volunteered to be the testpilot for a new Eva (Unit 03), she seemed happy at the time and it was a really sweet build up with the "I can smile, I didn't know I could still do that."-line. And then? Then it turns out the Ninth Angel had infected Unit 03 (Angels are basically the Kaijus they fight using Evas btw). The thing goes on a loose and Shinji is forced to fight it (With Asuka inside mind you), he refuses and his father uses an autopilot to destroy Unit 03. And boy did it destroy the angel, well it and it crushed Asuka between its jaws (you can actually hear her scream btw haha pain :)).

Asuka survived though, but the whole incident cost her her humanity and she ended up becoming an angel herself/she took the place of the Ninth. But despite that, there's one person who keeps believing in Asuka's humanity, who fiercely believes Asuka is still a human and tells her as much.

Yep, that one person is Mari and she keeps holding onto that belief until the very end when Asuka uses her last resort, which is using the power of an angel (Doing so was a guaranteed death sentence btw). Mari's own words (in the German dub) were, "Princess, you're giving up being human…" AND IT MAKES ME SO EMO GOD FUCK

While I'm at it, Mari and Asuka are a fucking killer combo as a team. They rely on each other for support in combat, listen to the other's orders and advice. Especially in Asuka's case it's kind of a big deal that she so openly relies and counts on Mari's support. Like these two trust each other with their damn lifes!!! Holy shit!!

Guess what though, they also have nicknames for eachother. Mari always calls Asuka "Princess" or "(Your) Highness" while Asuka calles Mari "Four-eyes" / "Four-eyed chrony (idk how you spell that tbh RIP" Even better though, in the German dub Asuka calls Mari "Brillerella" as in a combination of "Brille" (German for glasses) and "Cinderella",,,,Cinderella and her Prince,,,Brillerella and her Princess,,, man, that was a gay fucking move of the translation team. Spoiler: I owe them my life.

Funfact: There's exactly two times throughout the Rebuild movies where Mari uses Asuka's actual name. These two times being when she watches Asuka "die" and be used as a sacrifice for Gendo's selfish plan and when later on she begs Shinji, "So please the Princess… Asuka needs your help!" And the best part? That wasn't even the first time she did that. The mentioned line came from 3.0+1.0, but she did that too in 3.0 with the, "At least save the Princess!" line (although her tone was much more...pissed, like she was really angry lol)

Remember the crush Asuka had on Shinji? Well due to the Unit 03 incident a whole lot of other shit got mixed into that and her feelings for him in general became really bitter (understandably so). Now Mari being who she is sometimes teases Asuka about said old crush but she really does want Asuka to get closure and sort that mess out.

As an example for the teasing, in 3.0 there's a scene that goes like this (please imagine Mari with a literal :3 face while saying that):

"Unit! Are you back in the game?"

"I'm on it, your Highness. But first things first, how was our little puppy (Shinji)? Did he sit like a good little boy?"

"He's exactly the same! Same stupid face talking mayhem!"

"That goofy face of his, that's what you wanted to see? Riiiiight?"

"Shut up! I went there to bat him one!... And I feel better!"

There's also a very short bonus manga that was released in Japan for Thrice Upon a Time's release that has Mari trying to convince Asuka to come with her on the mission to get Shinji, given everything that follows, it's just another thing to prove my point. And the final bit relating to that is this:

"Feeling better now?"

"Yeah, I do feel better."

That's the exchange Asuka and Mari have after they talked to Shinji, it's nothing special but I think it's really sweet and this time Asuka actually sounded like she was feeling better instead of when she was screaming after she nearly broke pretty thick glass with her fist (If she had hit someone with that much force she definitely would've broken something omggg #violentimpulsesgang)

To get back on track though: I already mentioned it but during the second half of 3.0+1.0 Asuka "dies" (and honestly that entire scene is worth its own in-depth post because its just one huge parallel to The End of Evangelion), the point is: You can tell that the loss of Asuka honestly hits Mari hard. Not only because of how Mari screams Asuka's name but also because of her expressions. They're pained, like really fucking pained and Mari even apologizes to her that she has to fall back due to the fact that she's injured AND because eveything is going wrong.

After the events of Evangelion 3.0 these two got seperated from eachother, Mari was with WILLE (the organization both of them are with) and on board of Wunder (the ship WILLE basically operates from) while Asuka was in a Village full of (Near) Third Impact Survivors. When they do meet again it went like this:

Asuka, barely back, comes to the door and calls, "I'm back." And within seconds of Asuka stepping into their room after the door opens Mari already runs towards her, arms wide open and she says, "Welcome back, your Highness! Good job. I missed you so much!" And she says that while she literally nuzzles into Asuka,,,like,,,what the fuck gay people real!!!

Best part? Asuka clearly has enough strength to push Mari completely away if she were uncomfortable, but she doesn't. Asuka merely wanted enough space to look at the room (because Mari managed to horde even more books lol) and play her game. During their entire renunion Mari keeps hugging her, and part of me thinks that perhaps deep down Asuka actually enjoys the feeling of physical affection.

Before we get to the last point though, let me say that Asuka and Mari have scenes in 3.0+1.0 that parallel Shinji and Kaworu's from 3.0. (Fyi Kaworu loves Shinji (yeah, like that, and 3.0 was basically them being gay as fuck for an hour) so like...do I even need to explain?

And then of course there's also this, the "Take care of yourself, Princess…" line. That is the last time Mari talks to Asuka and as much as that line alone already is so much, it's Mari's expression in particular that kills me. Because this? This soft, almost bittersweet expression she has, as she basically says goodbye? Because she knows Asuka will finally be happy and safe? It just makes me feel so much actually. Man.

In the end it's a fact that Mari loved Asuka, wether that is interpreted as platonic or romantic by someone is up to them. But it is a fact that Asuka was loved enough that someone wanted to hug her, was happy to see her, to praise her, was hurt by her loss, wanted her to be safe, that someone told her "Take care of yourself…" Asuka was really and honestly so loved that someone would tell her, "I missed you."

But Asuka? Asuka was too hurt, too wrapped up in her own head to actually see how loved she was by Mari (and other people) that she genuinely believed she's completely alone and always will be alone.

It makes the "Take care of yourself" line hit even harder to me, because it's not only Mari's goodbye, but it's a goodbye during the one time Asuka allowed herself to be vulnerable and admit what she really wanted.

And honestly? All of this? Its makes me feel so many things and I just love them so much man.

#the felix talk #IM SO SORRY THIS IS SO LONG #HDMSGDMDGSJSGEH #3.0+1.0 spoilers

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tl-notes · 3 years ago

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Kobayashi’s Maid Dragon S2 Episode 11 Notes

This is ラジオ体操 radio taisou, lit. radio exercise(s). Basically it’s a short series of light stretches intended for general health. It used to be broadcast over the radio (and I guess still is), but is also on TV and internet these days too.

It’s generally popular as a morning thing to kind of get the blood flowing—some companies (apparently around 1/3rd) even have a few minutes in the morning set aside to have everyone do it. Some neighborhoods will hold outdoor public gatherings during summer break, as a morning routine thing for children while school is out. It’s also a kinda stereotypical old-person thing to do.

There are two “sets,” known as radio taisou dai ichi, and radio taisou dai ni (basically “the first” and “the second”), and each has a standing version and sit-down version for improved accessibility.

“Pound (shoulders)” here is 肩たたき kata-tataki, a type of shoulder massage that involves lightly bopping the recipient’s shoulders with the bottom of your fists. It’s a stereotypical thing for kids to do for parents/grandparents (remember the shoulder massage tickets Kanna gave Kobayashi for Father’s Day in ep 8? same thing).

I honestly have no idea how effective it is.

小林さんは安く済ませようとして、色々物を買ってしまうタイプなんでしょうか？

For clarity here, the idea is less that Kobayashi tries to buy lots of stuff for cheap, but that she wants to solve whatever problem on the cheap, and ends up wasting a bunch of money on several cheapo purchases that don’t really help.

Another angle on it might be like:

“Could she be the type who tries fixing a problem cheaply, but ends up paying more for less?”

Just a bit of trivia, but in the manga Elma answers this question about computer chairs by saying “Yes, a good one costs as much as 1,000 cream buns.”

That’s our Elma.

Takiya’s word for “logic” here is 理屈 rikutsu. Rikutsu does mean “logic,” but it has another use too: referring to something that relies excessively on “theory” vs. practical application/real experience, or a kind of “forced” logic.

Basically here he’s saying this out of modesty, not like “the solution was only logical.”

This “concerning” is 危うい ayaui, an adjective describing something that’s in a perilous situation, kind of like something you’d say “balanced on a razor’s edge” of. It’s typically for less immediately physical types of danger (which would use 危ない abunai instead).

In this case, while it’s true such situations are typically “concerning,” he’s not saying this because he’s concerned per se; he’s saying that situations like Tohru’s, where emotions run high (e.g. romantic relationships), are often fragile because of that strength of emotion.

For “a little hard,” Tohru says グサッと gusa-tto. (��Sharp” was 鋭い surudoi, which is basically one-for-one.)

Gusa-tto is one of those sound effect words mentioned in previous notes, used to describe a heavy stab or pierce (literally or figuratively). (If you’ve seen that anime/manga visual gag where someone says something and the words/speech bubble “stab” the other person, that’s a more light-hearted use of this.)

I mostly bring it up here because the “he’s sharp”→”what he said cut deep” was a good pairing of evocative phrasing that we didn’t really get in the English.

この程度でいいですか？　kono teido de ii desu ka? この程度でいいよ。　　　kono teido de ii yo.

Kobayashi’s answer here is repetition of the question, but changing the “question” marker for a declarative one. Like “Is this enough?” “This is enough.”

I bring it up here for two reasons. One is just because I mentioned the whole repetition thing in a previous episode’s notes, so as an example to help drive that home.

The other is that I have a bit of an issue with the choice of the word “perfect.” Kobayashi is generally a lowkey person (with some exceptions), prone more to understatement than overstatement, so a relatively strong word like perfect is a little out of character for this scene, I would say—especially given the Japanese.

The use of the particle で de in these two lines is also worth noting. In this context (where you’re talking about whether something is what you want), de ii and ga ii have two distinct meanings. With de, it’s “good enough.” With ga, it’s not just enough, it’s actively what you want. If you’ve seen romance shows where one person has low self-esteem, you’ve likely heard a question like “boku de ii?” answered with ”kimi ga ii.”

If there’d been some sort of twist to the phrasing like that, “perfect” might have been a good choice, but as it is I’d have probably stuck with something like “Yeah, this is plenty.” (if maintaining that sentence structure anyway)

そういうもんですか？そういうもんだよ。分かりました。そうします。

Just one quick note for clarity on this exchange; the “that/this” they’re talking about is the “what Kobayashi wants” topic, not specifically this tail-chair thing or how fast the tail-vibrations are etc. You likely got that anyway, but I figured I’d mention just in case, since the Japanese wording felt more obvious about it.

Notably here Daddy Tohru says 知り合い shiriai, which is very explicitly a level or two removed from “friend.” (it’s often translated as “acquaintance”)

They might actually be friends and he just phrases it that way because tsundere, but either way I don’t know if I’d use “friends” here.

If you’ll recall from the Elma episode, “clairvoyance” there was 千里眼 senrigan. This is actually not that, but instead 未来視 mirai-shi, which is more or less literally “future sight.” It probably won’t really come up again(?), but just as a world-building thing I guess, know that this guy and Elma don’t actually have exactly the same power (at least in this instance).

The word for “lost control” here is 暴走した bousou shita, which does basically mean that.

I would, however, like to point out that he’s not necessarily saying Tohru lost control of herself. Bousou means that [whatever] is running wild, but that ranges from a runaway train, to someone going berserk, to someone acting rashly without consulting others.

My point in bringing it up is that “lost control” sounds like Tohru had little/no agency in the decision to storm the enemy’s home ground, which is not really the case and not necessarily implied in the Japanese.

When Kobayashi responds here, she says she, Kobayashi, will be the one getting looked after by Tohru, not the other way around. She flips it 180 degrees from how Dad here says it.

(Since, y’know, Tohru’s the maid and everything.)

Example alt text:

“Make sure you take good care of Tohru until your lifespan runs out.”

“Yessir, I’ll have her take good care of me.”

It’s supposed to give this very heavy and serious scene a bit of levity to end on.

(For the Japanese students: she says [面倒を]見てもらいます, meaning that Kobayashi is having Tohru do the “looking [after].” If she was the one doing the looking after, it would be something like 見させてもらいます instead.

When you stick もらう or いただく after a verb, it’s you having someone else do that verb, not you doing it, so to make it work for “you” being the verb-doer, you have to flip the verb to a passive form. It’s kind of like the difference between “please [verb]” and “please allow me to [verb]”.)

どうしてトールがうちに来てくれ��気になったのか

Two small things about this line. First: the “came here” is うちにきてくれる uchi ni kite kureru. The two words I want to mention are uchi, which is like “my/our place” (like “wanna come to my place?”), and kureru, which is used as a helping verb to denote that a verb was done for someone else.

So basically the Japanese adds two extra layers of… emotion(?) to the “came here.” That is, “here” is specified as Kobayashi’s home (vs “here” being more vague and could just mean “this world”), and the “came” is conjugated in a way that expresses Kobayashi sees Tohru’s .

The second, more minor, is that it seems like the English took the 気になった ki ni natta and changed it from talking about Tohru to talking about Kobayashi.

Ki ni naru can mean to take an interest in something (“I’m curious”), or when attached to a verb, can mean “got the will/motivation to do [verb].” In this sentence, it’s attached to the verb phrase uchi ni kite kureru, so meaning more like “why you chose to come here.”

(That said you could easily leave the “curious to hear” part there in the English too though, since that still makes sense for her asking a question like this.)

(Basically the English reads like a translation of どうしてトールがここに来たのか気になった instead of the line in question.)

So like as an example alt:

“I’m curious what moved you to come live with me.”

Which still doesn’t fully grasp that kureru, since that’s a hard thing to just “slip in” in English, but does hit a few other relevant notes and should still be okay length-wise (cursed subtitle restrictions!).

The phrase for “[move] to the big city” here is 上京 joukyou. It combines the characters for “up” and “capital” (of a state/country) and is used as a verb for moving to the capital—these days, specifically Tokyo.

(It used to mean moving to Kyoto, and I’m told it annoys some old-school Kyoto-ites if you use it to say moving from Kyoto to Tokyo, lol.)

#maidragon #Miss Kobayashi's Dragon Maid #kobayashi-san chi no maid dragon #translation notes #anime

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commentaryvorg · 3 years ago

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Digimon Savers Commentary Episode 3 - The Genius Who Returned Home, Tohma! Crush Meramon!

In this episode, we’re introduced to Tohma, whose return to the Japanese branch of DATS immediately sparks a hostile rivalry between him and Masaru. Meanwhile, Masaru’s first mission as a DATS member presents him with the tricky conundrum of figuring out how to punch fire.

We open with Masaru and Agumon stuffing their faces at the Daimon family breakfast table.

Sayuri: “My, my. Masaru never usually gets up before the afternoon on a Sunday. This must be thanks to Agu-chan!”

Masaru habitually sleeping in on non-school days is deeply relatable.

But more importantly, it’s lovely that him meeting Agumon has changed that! Though Masaru might have got something out of fighting random street punks before, it seems that it wasn’t quite exciting enough to him to get him out of bed early for it. It was probably more just that he’d wander around town bored and pick fights with anyone who seemed up for it out of a lack of anything better to do.

But now that he and Agumon have got all these Digimon to fight, Masaru’s got a real reason to wake up as soon as possible to go do that! Meeting Agumon has genuinely made him a whole lot happier with his life.

Also it is adorable how Sayuri and Chika have already taken to calling Agumon “Agu-chan”. It’s a cute sign that they see him as exactly the dorky kid that he is rather than as some weird monster, and also that they see him as one of the family, which is absolutely what he is now.

Can we please appreciate Chika’s done-ness here. I love her.

Masaru: “What the hell, Mom! Serve me before Agumon!”

Sayuri: “I never said you wouldn’t have your share. Just wait for a bit. After all, Agu-chan’s still a child.”

Again with the just treating Agumon like the big kid that he is. Sayuri is so good.

We are also introduced to the glorious treasure that is Sayuri’s fried eggs! Agumon has certainly discovered how great they are.

(Technically, these are tamagoyaki, a Japanese miniature rolled omelette thing. But the subs go with fried eggs, which is close enough and rolls off the tongue quicker in English.)

Masaru: “Gimme that!”

Agumon: “I won’t hand over the last of Sayuri’s fried eggs, not even to you!”

Oh, won’t you, Agumon? Not ever?

(This is another line to keep in mind for a lot later.)

Chika: “What a child…”

As Masaru wrestles Agumon in an attempt to literally get the fried egg back from out of his mouth, Chika observes that she’s somehow the most mature of the three Daimon kids. (Yes, I said three, what of it.)

Meanwhile, Tohma is… having a gratuitous shower scene. Uhhh, sure. Apparently this totally needed to be his introduction. …Look, at least I appreciate that the fanservice is being equal-opportunity in terms of gender. (For now.)

He also has a butler, and is living in a pretty big but mostly quiet and empty mansion. This sequence is about showing the huge contrast between Masaru and Tohma’s home lives, but I do not know why the writers thought a shower scene was necessary for that.

(Tohma mentioned at the end of last episode that this country is his mom’s homeland, but he sure doesn’t appear to be staying with his mom right now, does he.)

Agumon attempts to fit himself into the basket of a bike which I can only imagine is Chika’s, because I don’t think Masaru’s bike would be pink. Agumon doesn’t seem to realise this. Chika doesn’t seem to want to tell him. He is such a ridiculous dork.

Meanwhile, Tohma gets seen off in the morning by the mansion’s staff bowing goodbye to him, and then is driven around in a limo.

Masaru’s “transportation”, on the other hand, is running down the street while giving Agumon a piggy back. Apparently this is so that Agumon can stay still and pretend to be a really big stuffed toy, but he’s kind of ruining that by talking and waving his arms around to cheer his aniki on.

(Of course, the most obvious way to not have Agumon raise suspicion would be to keep him in his Digivice, but it seems they’ve already agreed offscreen that that’s not an option because Agumon doesn’t like it in there. Yoshino and Satsuma would probably have some words to say to them about that, but hey, they’re not here, so Masaru’s gonna let his follower stay outside and be happier.)

Masaru: “Uh… what do I press again? This? No…”

Masaru, that DATS earpiece only has like two buttons on it, it can’t be that hard to figure out.

Yoshino: “We have a Digimon signal.”

Masaru: “Where?!”

Yoshino: “Area C-7. Can you get there directly?”

Masaru: “Yeah! Leave it to us!”

Not pictured: Masaru wondering where the heck “C-7” is and why he impulsively said he could definitely get there when it could be on the other side of the city for all he knows.

(Okay, that’s probably not actually what happens. Somehow we are supposed to believe that Masaru – Masaru – memorised all these location codes that DATS uses remarkably quickly. I imagine he knows the city quite well, but these codes for the areas are presumably a DATS-only thing that civilians wouldn’t be familiar with.)

Street punk #1: “So boring…”

Street punk #2: “Nothing’s going on at all…”

PetitMeramon: “Nothing at all!”

This is the first time we’ve seen a rampaging Digimon speak… but it doesn’t necessarily seem to be expressing its own thoughts. Rather, it’s just parroting these bored dudes. The PetitMeramon goes on to float down the street and set things on fire, which certainly makes it so that something interesting’s finally going on. It almost seems as if this is happening because these dudes were bored and wanted some kind of excitement, even if they weren’t necessarily wishing for this.

This is almost immediately followed by Masaru and Agumon showing up, which… the timing of that doesn’t exactly work out for the PetitMeramon to have only just appeared, assuming this is the Digimon signal Yoshino told him about while he was still in his own neighbourhood. But I’m still very sure that the writers want us to feel like these dudes’ boredom is related to the PetitMeramon being here, and honestly, showing us that is more important than getting meaningless details like the timing of things exactly right, so I don’t actually care.

Masaru: “Let’s fight!”

PetitMeramon: “Fight…”

Again, still not really speaking for itself, just parroting. Though this time it’s parroting a different person, so maybe what we can take from this is that there were some other bored people who originally brought it here and now it’s just parroting and acting on the thoughts of whoever happens to be nearby. (It’s true that we didn’t actually hear the sound of a Digital Gate opening just now.)

Unfortunately for our pair of dorks, a living fireball like PetitMeramon is immune to Agumon’s fire attacks and not solid enough for Masaru to punch. And without punching it, Masaru can’t get his Digisoul, so he can’t evolve Agumon either. This is the absolute worst possible enemy for them to try and fight.

Naturally, they just chase it further down the street anyway, giving absolutely no care to the random dudes who just watched a giant lizard and a living fireball duke it out. Despite being a DATS member now, Masaru is still really not here for all of the calculated government secrecy stuff.

Luckily, Tohma arrives on the scene in his limo and cleans up these loose ends Masaru left using a memory-wipe flashy thing. And, to be fair, I wouldn’t be surprised if Satsuma just didn’t even give one of those to Masaru in the first place. I’m not sure I’d trust him not to accidentally point it the wrong way when using it or something, given that he could barely figure out the two buttons on his earpiece. Masaru and technology do not mix.

(…Though I have to wonder why Gaomon then emerges from the limo and isn’t inside his Digivice. Sure, the flashy thing knocked out those dudes so they’re not a problem right now, but do you really not expect to run into any more people as you chase down the target? …But of course, the only real reason Gaomon is out right now is so that we can get a brief glimpse of him as a stinger before the opening.)

Okay! Okay!

I can jump over any limits!

Feel that excitement passionately!

Some more gung-ho opening lyrics! These feel appropriate here, as the idea of Masaru’s burning passionate excitement is going to be a bit of a thing in this episode, as is the idea that he brashly considers himself to have no limits whatsoever.

At DATS HQ, Masaru is grumpy about not being able to win.

Yoshino: “Well, I didn’t think it would go easily for you from the start.”

Honestly, having seen how easily Masaru handled the fights in the first two episodes, I would have expected things to go easily for him, at least in terms of fighting. It only didn’t because this specific enemy happens to be immune to all of his usual tactics. The more logistical side of things, such as the secrecy and the memory wiping stuff, I can see Masaru needing a while to get used to (though, spoiler, he’s, uh, never really going to become any good at that at all), but not the fighting.

Tohma shows up with the PetitMeramon’s Digiegg, presenting it to Yoshino and not even acknowledging Masaru’s presence.

Miki and Megumi, the two young women who work the tech side of things at HQ, begin fawning over him, which is, uh, a liiittle questionable when he’s fourteen and they’re… it’s never made clear exactly how old, but definitely at least adults. Thankfully, this mostly goes away and stops being much of a thing after this episode.

There is also Gaomon! He is a good dog. Though right now he’s being as dismissive as his master and ignoring Agumon when Agumon tries to ask who he is.

Masaru: “You bastard! You took away my prey!”

It’s so Masaru to be mad about this. That PetitMeramon was his opponent first, and now he can’t even settle the fight himself because this guy came in and defeated it before he could!

Tohma barely looks at him, and…

Masaru: “What, gonna fight?”

…of course Masaru is ready to start a fight over this, because this is how he’s used to settling disputes.

But actually Tohma was just turning to walk towards Satsuma, still pretty much entirely ignoring Masaru’s presence.

Tohma: “I’ve looked through the written reports, and it seems rather peculiar that there are a large number of Digimon detected in this country lately.”

[…]

Satsuma: “Is the frequency not as high in EU?”

Tohma: “No. It must be because it has a larger area.”

I do not understand what Tohma is trying to get at with that last part. Since Europe is bigger than just Japan, surely that means they’d expect more Digimon incidents in it, not less.

That weird part aside, though, it is a relevant point that Japan in particular has been seeing more Digimon incidents than anywhere else. There’s a reason for this.

Masaru is fed up with Tohma acting like he doesn’t exist and walks up to cough pointedly behind him. It’s actually rather unlike Masaru to be passive-aggressive and indirect like this, but it does amuse me.

Satsuma: “Oh, let me introduce you. This is…”

[Tohma barely even glances at Masaru; Masaru gets angry]

Masaru: “Hey! I don’t care if you’re called Tohma or Tonma… but around here, I’m your senpai! I’ve only been here for three days, but make sure to call me ‘Daimon-san’ or ‘Daimon-senpai’!”

Not that it takes much for Masaru to go back to his usual direct approach to things. Tohma just waltzing in here, easily defeating the opponent that Masaru was struggling against, getting immediate respect from everyone else in the room and barely even acknowledging Masaru as worthy of looking at makes Masaru feel inferior, which riles him up and gets him flailing to assert some kind of superiority in a really transparent way.

See, Masaru wouldn’t usually care all that much about people showing the appropriate politeness when referring to him, but when it’s this jerk who’s making him feel like this, damn right he’s going to insist that the three days more he’s been here is totally enough to count as making him a senpai. (A senpai means someone senior within the same group; it’s a Japanese concept that doesn’t quite have a direct English equivalent, hence the subs leaving it as-is and just giving us a translators’ note explaining it.)

Calling him “Tonma” – which another translators’ note informs us is a word for an idiot, so basically Masaru’s just insulting him in a very juvenile way – is, of course, not exactly the best way to establish himself as a mature and senior senpai.

Satsuma and Yoshino point out that actually Tohma is Masaru’s senpai, because he used to work here until he took a six-month trip to work at a DATS branch in Europe, which he’s just returned from.

Masaru: “B-But no matter how you look at it, he’s the same age as I am…”

Establishing Tohma’s age as being also fourteen. (Though technically Masaru wouldn’t necessarily know his exact age and is just saying he seems similarly aged, but whatever, Tohma is fourteen as well, let’s go with it. Their rivalry has a much more fun dynamic if they really are exactly the same age rather than one having a year or two of seniority over the other.)

They also go on to add that Tohma is a genius who already has a degree (and even more than that, as we’ll later learn). And, okay, while on paper Tohma’s genius achievements are probably wildly unrealistic for anyone to have managed at the age of fourteen no matter how clever they are, it doesn’t really bother me. In practice, the genius thing isn’t here to make Tohma magically unrealistically special; it’s here to make him interesting and a great foil for Masaru. Tohma is a very well-written character whom I really like, almost as much as Masaru, and I’m looking forward to getting to talk about him a lot here.

On top of this, the Norstein family is Austrian nobility, so Tohma’s practically a prince as well. (Again, there’s very much a point to this that’s relevant to his character and not just for the sake of making him special). And they add that Gaomon is the most accomplished battler they have among the Digimon at DATS (not that there’s that many for him to compete with there).

Satsuma: “Be sure to get along with each other, as you are colleagues.”

Yep, Masaru’s sure to have no problems getting along with this person whom you just lengthily explained is way more awesome than he is despite being the same age as him.

Masaru certainly doesn’t seem too happy about this.

Tohma: “I think it will be futile to do so, Captain Satsuma. There is not a chance that this person could benefit DATS.”

Masaru: “What d’you mean?!”

[Tohma only barely glances at Masaru before turning back to the Captain]

Tohma: “People like him should be dismissed at once.”

…Though, it turns out, Tohma is also equally unwilling to even attempt to play nice. All this barely even glancing at Masaru and talking about him rather than to him is kind of a dick move. Really, Masaru and Tohma are being equally as rude to each other here, albeit in completely different ways.

Masaru: “Say that to my face! Look into a person’s eyes when they’re talking!”

And I love that this in particular is what gets to Masaru the most. He’s always so straightforward, and being that way is important to him. He can’t stand people beating around the bush and being vague about their intentions rather than just coming out and saying what they really mean directly to the person involved.

To be fair to Tohma, he does actually listen and look Masaru straight in the eye this time.

Tohma: “You and your partner are not suited for DATS.”

Yoshino: “Tohma!”

I like Yoshino protesting here. Even she thinks this is going a bit far.

And it is a bit far, really – sure, Tohma caught a glimpse of Masaru and Agumon’s rather unfortunate fight against the PetitMeramon earlier, but that’s hardly enough evidence to decide that they have absolutely nothing to offer. This says less about Masaru and Agumon and more about Tohma himself: he’s something of a perfectionist, and he doesn’t like the idea of working with anyone who doesn’t match up to his very high standards.

(College degree as a teenager? Member of Austrian nobility? Yeah, we can already guess where some of that might come from.)

Masaru, being Masaru, has had enough and just tries to punch Tohma – but he blocks it easily.

Tohma: “Really, now. You want to face me with that level of power? How incredibly pathetic.”

Masaru: “What do you mean, ‘that level’? How strong does that make you, then?!”

This is the first person Masaru’s met in probably a really long time who’s said anything to the effect that he’s not strong enough, who’s implied that there’s some other, higher level of strength that Masaru just doesn’t have yet. He’s not used to thinking of his strength in those terms, and feeling inferior. Isn’t he supposed to be the number one street fighter in Japan? How can there be any kind of greater strength he doesn’t have?

Tohma: “Do I have to answer that?”

Masaru: “Yeah! Go on, show me! Let’s see the truth behind all that bragging!”

Of course Tohma has to answer that and actually prove himself! Masaru is all about actions rather than words; if someone’s claiming they’re stronger than him, there’s no way he’s going to just accept that until he tests it out for himself.

It turns out Tohma is indeed perfectly willing to put his money where his mouth is, because we cut to what’s presumably a gym somewhere in the DATS HQ, in which there is a boxing ring. I might call this awkwardly convenient, but no, actually, since Tohma used to work here (and he’s into boxing, as we’re about to see), it makes a lot of sense that he might have asked to have one installed for himself to use recreationally in between missions.

Yoshino: “Hey! Put on your headgear!”

Masaru: “I don’t need it! Besides, he’s not wearing any!”

Masaru and Tohma are both being reckless idiots here, pointlessly endangering themselves because of their pride. They’re both telling themselves “I don’t need to protect myself to win against him”, and they’re certainly not going to be the only one to wear headgear while the other doesn’t and end up looking like they’re only winning because they have an unfair advantage, or like they’re wearing it because they’re worried.

It is notable that Yoshino is only trying to encourage Masaru to wear the headgear. Apparently she’s already expecting Tohma to have the upper hand here? Ouch.

As you’d expect, the first few moves of the fight are Masaru throwing wild punches at Tohma while he easily dodges them all.

Tohma: “You put all your faith in power without using any strategy or tactics.”

Which pretty much sums up the entire Masaru-Tohma contrast going on here: reckless power versus careful strategy.

Tohma: “Why did you join DATS?”

Masaru: “Huh?! It was so I could win, obviously!”

Tohma: “Against who?”

Masaru: “Against strong guys!”

Look at how Masaru doesn’t even think to specify who he wants to win against at first, because the exact opponent he’s fighting isn’t the point. He just wants to challenge himself and prove to himself how strong he is by winning those challenges, and fighting Digimon happens to be the best way for him to do that right now.

Also look at how Masaru has completely stopped caring about the part where the other reason he joined was so that Agumon wouldn’t be taken from him. That genuinely does not matter to him any more, now that he’s here anyway because he wants to be.

(So it’s actually kind of a bit much that Tohma is insisting Masaru should be dismissed from DATS – because that would mean he’d lose not only this job, but also Agumon.)

Tohma finally stops just dodging and counters with a blow to Masaru’s stomach – the first punch that’s actually landed for either of them – giving him a sense of the high ground as he says these next words.

Tohma: “What a boring story. DATS has an important mission. Every member has an obligation and a responsibility to carry that out.”

It’s very appropriate that Tohma would be so disdainful of Masaru being here for entirely personal reasons, while he feels like this whole thing is supposed to be about a sense of duty for a greater purpose. That noble Norstein family heritage is showing just a little bit.

Obviously, DATS’s general mission of covering up Digimon incidents is indeed important, but so long as he helps them do that anyway, what does it actually matter if that’s not the reason Masaru’s here?

Masaru: “Shut up! Stop acting all elite!”

Masaru still does not like Tohma constantly acting like he’s better than him, like he’s just this perfect superhuman who doesn’t even have any personal desires of his own other than to do as he’s supposed to.

Tohma: (He’s beyond help.)

Geez, Tohma, that is going a bit far. Again, he’s just writing Masaru off entirely because he doesn’t fit Tohma’s idea of how things should be, rather than trying to understand his different view on things.

(But of course, Masaru is not really being any better about trying to understand Tohma’s perspective and is currently similarly writing him off as an elitist jerk who needs to be taken down a peg.)

Tohma follows this thought up by punching Masaru right in the face, implying he’s been going easy until now and has finally started getting serious, expecting this single blow to end this. Which it does, because Masaru is knocked to the ground and doesn’t manage to rise for Yoshino’s count of ten, making Tohma the winner of this boxing match.

(please appreciate this look on Masaru’s face as he realises that Tohma has arguably beaten him, that maybe he really is inferior)

…But of course Masaru’s not just gonna stand for that. As Tohma is about to leave the ring, Masaru finally manages to get to his feet anyway.

Masaru: “Wait right there… You really are… spouting a lot…”

Tohma: “The match is over.”

Masaru: “Match? What we’re having is a serious fight! It’s not a game!”

He doesn’t care about anything so pointlessly official as a match or a countdown to determine the winner. Settling their differences and proving who’s strongest goes way beyond those silly arbitrary restrictions!

With these words, Masaru manages to punch Tohma just as hard in the face… albeit only because Tohma was turned away and not quite ready to defend himself. Still, as far as Masaru would see it, in terms of his usual kind of fights, that’s on him! If he turned away from an opponent who’s still able and willing to fight him, that’s just letting his guard down!

Masaru: “A fight doesn’t end until one side admits defeat!”

That’s the only rule Masaru needs for his street fights. So long as the combatants are still willing to fight each other, anything goes!

In fairness to Tohma, he doesn’t even complain about Masaru catching him off guard and seems quite willing to accept these new “terms” for the fight, because they jump right back into beating each other up.

We cut to later in the main control room.

Masaru: “Damn it… That bastard…”

Yoshino: “You should be happy it was a draw!”

Who’s betting it was Yoshino’s decision that it was a draw. I can’t imagine either Masaru or Tohma being willing to even admit to that much. After a while of them trading blows and obviously being quite evenly matched to the point that this could end up going on forever, Yoshino probably stepped in and insisted they call it off as a draw before they seriously hurt each other.

Yoshino: “Tohma’s beaten Olympic champions in the past.”

…Yeah, so also on top of everything else, Tohma is a supremely talented boxer. But I don’t mind, because something like that is necessary for him to be able to equal Japan’s number one street fighter in a fistfight. And his fighting style being the precise and controlled sport of boxing rather than anything-goes street brawls once again serves to contrast their approaches. Tohma’s boxing talent is just another part of making him Masaru’s equal and opposite. These two are such good foils for each other.

Masaru: “Well, I’ve taken out the leader of the third Minato high school!”

That is totally an equivalent thing here, right. He’s successfully beaten tough guys, too, the context doesn’t matter. Masaru was expecting to win and not just draw, damn it!

Yoshino: “Really, the only things worthy of a gold medal around here are your pride and your competitive attitude.”

I love her snark. She’s not wrong. (Though really, Tohma’s pride would be giving Masaru just as much competition for that medal.)

I also love how pouty Masaru is.

It’s interesting how Yoshino’s putting band-aids on Masaru’s bruises, yet Tohma then walks into the room (still barely acknowledging Masaru) with an equally bruised face, and Yoshino’s not trying to tend to him. It’s like how she was only trying to get Masaru to wear the headgear earlier and not Tohma.

At this point, I doubt this is so much about thinking Masaru is weaker and more in need of this than Tohma, since she just watched them match each other in a fight. So maybe it’s more that Yoshino finds Masaru more approachable than Tohma. For all his reckless stubbornness, Masaru’s basically still a regular person, while Tohma’s from a whole other world to her. Perhaps she simply feels more comfortable directing this mom-friend behaviour at Masaru rather than Tohma, despite having known Tohma for longer.

The Digimon-signal alarm blares and Masaru instantly shifts to this excited grin. What a dork.

It’s more PetitMeramon. A lot of them. Turns out that if even the tiniest flame from their body is left behind, it can develop into a new PetitMeramon. Hearing this prompts Masaru to recall his earlier unsuccessful attempts to punch it, which only succeeded in sending little embers from its body flying everywhere.

Masaru: (This is my fault…)

It’s admirable of Masaru to immediately acknowledge this rather than stubbornly try and make excuses to himself and pretend he totally didn’t mess anything up at all. But it is notable that he’s not saying that out loud. Which is probably because Tohma’s in the room, and he doesn’t want to give Tohma even more ammo to keep claiming that he’s a liability here.

Kudamon: “It’s up to you, Tohma, Gaomon.”

Masaru: “Wait! Those fireballs are ours to beat!”

Masaru insists this partly because he’s still frustrated that he didn’t get to finish the fight himself earlier, but almost certainly also because he feels responsible for this. This is his mess, and he wants to at least make up for it by being the one to fix things.

Tohma: “Are you 100% certain you can secure these Digimon?”

Masaru: “Damn right! We’ll pull it off somehow using our spirits!”

Such certainty. Masaru is definitely the kind of person to optimistically throw himself into things without being sure what the outcome will be. Usually, it might be reasonable to bank on that, but against this particular enemy which Masaru and Agumon currently have no way of even damaging… probably not.

Satsuma: “This time, Tohma and Gaomon are best for the job.”

Satsuma realises this, too, of course. I like how he’s specifying that this is only because Tohma and Gaomon are more suited for this particular job, which is extremely true, and not that they’re better overall, which Masaru would not respond well to.

Satsuma: “Yoshino. You and Lalamon will go to support Tohma.”

Which is to say, Yoshino will drive the car, because Tohma isn’t old enough to do that. (Lalamon won’t really be doing anything at all.) Tohma came to the earlier fight from his limo, but it seems that was only because he was being driven to DATS HQ and happened across the Digimon on the way. Limousines are not the usual DATS-approved method of transportation to Digimon incidents, funnily enough.

Masaru, having been ordered to stay behind and just watch them, is left feeling frustrated and inadequate.

(It’s really only because you can’t punch fire, Masaru!)

Gaomon fighting alone against the swarm of PetitMeramon achieves basically nothing, so Tohma very quickly switches from “Plan A” to “Plan A-2” and evolves him. (I like how it’s not “Plan B” and is totally just an alternate version of the first plan. It’s definitely not that trying to fight a swarm of several Child-level Digimon with a single Child-level was ever a bad plan and really he should have evolved Gaomon from the start.)

It’s a neat detail that Tohma clicks his fingers to summon his Digisoul. Yoshino does kind of a similar thing, not clicking her fingers but instead making a very particular emphatic motion with her hand. It’s like they need some sort of psychological trigger to get it to work – which then also makes it slightly less ridiculous that Masaru needs to outright punch a Digimon to get his to show up. It’s just a stronger kind of psychological trigger, is all! And Tohma and Yoshino have been doing this for a long time. Maybe it usually takes a lot of practice to be able to get one’s Digisoul to show up on command, and the reason why Masaru’s has this extra condition to trigger it is actually because he’s new at this.

I want to take this moment to inform everyone that Gaogamon is a very good fuzzy doggy. He’s one of my favourite Digimon designs.

As an Adult-level, Gaogamon is exponentially stronger than these Child-level PetitMeramon and can easily take down the entire swarm of them in a single attack. Digimon evolution levels, everybody. This isn’t even Gaogamon being especially impressive; this is just how it was always going to turn out.

Tohma: “3 minutes, 47 seconds. We shortened it by another minute.”

Okay, so, some of Tohma’s genius traits can come across as a little bit silly in practice, such as this idea here that he and Gaomon have been timing themselves in their fights against rogue Digimon and constantly bringing that time down. It doesn’t take a genius to understand that each opponent they fight is different, so really it should be completely unreasonable to act like their times for each fight are at all comparable and that completing one fight faster than another means anything. (Plus, this is a thing that’s never going to come up again.)

Still, I do appreciate the narrative purpose of this bit – to show that Tohma is always pushing to improve himself and be better, despite being so incredibly hypercompetent at everything he does already. A lot like Masaru is always striving to challenge himself and get stronger despite already feeling like the strongest fighter in Japan! They are really not so different in a lot of ways.

Also, note how Tohma is getting to fight here, but it’s not the climactic fight of the episode. Just like I talked about for Yoshino in the previous episode: even though this is his introduction, this is not actually Tohma’s episode. It’s still Masaru’s. Tohma gets to have this fight and win it not for his own sake (the whole thing is so effortless that it’s not at all an interesting narrative from his point of view), but rather for the sake of Masaru’s conflict in this episode, because seeing how good Tohma is at this contributes to Masaru’s feelings of inferiority.

Agumon: “Wow…”

Having watched Tohma and Gaomon’s performance from HQ, even Agumon can’t help but be impressed. But then he catches himself and looks guiltily at Masaru, realising he’s just making him feel worse. Aww.

It is interesting to note how, despite all the similarities between him and Masaru, Agumon himself doesn’t seem nearly as bothered by being outclassed by Gaomon in the same way. After all, he’s still a kid who knows he’s got a lot to learn from his aniki; Agumon has never tried to present himself as the best person around at fighting like Masaru does.

Kudamon: “Understand now? This is the difference in ability between you and Tohma.”

Kudamon is apparently quite happy to imply that Masaru is significantly inferior to Tohma. Satsuma, though, doesn’t say anything to agree. I get the sense that Kudamon was a lot less on board with bringing Masaru into DATS, even though he ultimately accepted Satsuma’s decision to do so.

Masaru rushes out of the control room in frustration, with Agumon following.

Kudamon: “Aren’t you going to stop him?”

Satsuma: “Leave him alone.”

I like that Satsuma gets that this is something Masaru needs to figure out on his own, and that trying to talk to him directly about this is probably only going to make him feel worse.

(It’s this kind of approach of Satsuma’s that makes me think that him being so indirect about recruiting Masaru was on purpose out of him wanting Masaru to make the decision for himself.)

Masaru runs out of the DATS building through a tunnel that I’m pretty sure incidentally happens to be the same one we saw Agumon escaping through at the very beginning of the first episode.

Agumon: “Aniki… Why are you angry?”

Masaru: “Shut up!”

[Masaru trips in his running and falls to the ground]

Masaru: “Damn it…”

I enjoy how Masaru tripping over serves to illustrate how his unthinking recklessness doesn’t always end well.

Agumon: “Well, I think Tohma and Gaomon are nasty guys too, but…”

Aww, Agumon, trying to show that he’s still on his aniki’s side. And, yeah, he agrees that Tohma and Gaomon have been kind of dicks to them so far, but… (but still, he doesn’t get why Aniki is this upset about it.)

Masaru looks at Agumon with this bitter look for a moment, almost like he’s tempted to agree and just keep sniping at Tohma… but then he drops it.

Masaru: “No… It’s myself that I’m mad at, not them.”

Of course that’s been what this is really about. This is the first time in a long time that Masaru’s been given any sense that he’s not good enough at something he really wants to do. This isn’t about Tohma; Tohma’s presence just brought this out of him.

And hey, big props to Masaru for being willing to admit this! He couldn’t quite do so at HQ in front of everyone, and especially not in front of Tohma himself, but at least he’s willing to do so here in front of Agumon. A weaker person could easily have kept insisting that, no, this totally is all about that arrogant jerk Tohma, and avoided the necessary self-reflection, but Masaru is generally pretty good at being emotionally honest about things, even when it stings.

He also happens to pull the band-aid off his face at this moment, which I enjoy – needing his wounds patched up is a sign of weakness that he doesn’t like having.

Masaru: “Damn it! What am I doing? Really… what the hell am I doing?”

You’re doing your best, Masaru! Just like you’ve always, always been doing!

I really like how Masaru can’t actually properly articulate what the problem is. He knows there’s something wrong, something that’s frustrating him about himself, but he can’t put it into words. It doesn’t seem like he’s properly consciously aware of why he’s so into his whole fighting thing, and why he wanted to “fight stronger opponents” through joining DATS, so he can’t quite grasp why feeling like he’s not good enough at this bothers him so much.

Also, my compliments to the animators, and to Masaru’s VA. He looks and sounds like he’s on the brink of tears here, and it is good.

Masaru reaches the end of the tunnel… and who should he run into but the old man who gave him his Digivice, who’s sitting there cooking a fish like nothing is more natural.

Old man: “It’s hard lighting up a fire… The sparks go out easily whenever the wind gets a little too strong.”

Masaru: “Well, obviously!”

Old man: “But… once I get a larger flame going, it burns strongly no matter how much the wind blows. Fire is an interesting thing, isn’t it?”

What we learned about the old man last episode is that he finds Masaru interesting and likes randomly showing up whenever Masaru is acting in a way that he considers to be interesting. Apparently, he got wind somehow of the fact that Masaru has been having these doubts, and so he showed up to just… observe, and express his observations in metaphor form. He’s comparing Masaru to the fire, saying that right now his “sparks” aren’t quite strong enough to keep going when something challenges them – but that soon enough, if he just keeps growing more, he’ll become so strong that nothing will be able to stand in his way.

That said, I highly, highly doubt that the old man expects Masaru to actually learn anything from this metaphor – I’m sure he must know well enough to expect anything and everything metaphorical to go right over Masaru’s head. This isn’t actually an attempt to give Masaru advice. This guy just likes being a mysterious old man who makes abstract metaphors about people he finds interesting, that’s all. Sooner or later, Masaru’s flame is going to burn so brightly that nothing at all can blow it out, and won’t that be fascinating to watch?

(I agree, old man. It will. That’s why I’m here, too.)

[Masaru stares intently at the fire the old man has managed to light]

Masaru: “This is…”

And naturally, Masaru, who wouldn’t understand a metaphor if it punched him in the face, completely failed to pick up on what the old man was getting at. Instead, what this metaphor also coincidentally (or maybe not so coincidentally?) happened to be was some pretty useful advice on how to deal with the very literal, practical problem he’s been having today.

Before he can think on that further, Masaru hears a conversation over his earpiece. There’s more PetitMeramon signals, in a place where gas tanks are – not a great place for living fireballs to be flying around – and Yoshino and Tohma are 10 minutes away in their car.

Masaru: “Leave it to me!”

Yoshino: “Huh? What are you saying?”

Tohma: “You can’t do it!”

Masaru: “Shut up! I can get there in 3 minutes!”

The perfect opportunity for Masaru to get the chance to prove himself! Under other circumstances, it’d be arguably better for Masaru to stay back and leave this to Tohma again. Having shown some self-reflection on things, even Masaru himself would probably be willing to accept that and relent. But in an emergency like this, when he’s the closest one to it? Damn it, he has to at least try.

Since the “there” in question was only described as being “Area B-42”, what we have to conclude from this is that somehow Masaru has magically memorised all those location codes already. He doesn’t seem to be making this up to save face; he’s looking at an area off in the distance that he’d probably reasonably be able to sprint to in that time.

(Well, either that or he just assumed based on knowing that this is the only remotely nearby area with gas tanks. Maybe it’s that.)

Satsuma: “I won’t approve of this!”

Masaru: “Whatever, just watch! I’ll get ‘em this time!”

This isn’t Masaru arrogantly trying to show off and refusing to acknowledge that he’s unsuited for this. This is Masaru genuinely caring about trying to prevent the crisis if he can – and this time, he does have at least some idea of how to go about doing so.

Masaru makes it to the gas tanks, where there are indeed three PetitMeramon floating around.

Masaru: “Agumon! Use Baby Burner!”

I’m… not sure how Masaru knew that Agumon even has an attack called Baby Burner, since he’s never used it before. I would say he could have had some kind of offscreen fight as a DATS member already in the three days he’s been here, but Yoshino’s response to his failure earlier suggested that today was indeed his first proper DATS mission.

Agumon: “My attacks don’t work on them!”

Masaru: “You heard me, do it!”

Agumon: “Okay…”

Agumon is such a loyal follower! He doesn’t understand why this is a good idea – in fact, it seems like a thoroughly bad one – but he trusts his aniki’s judgement and does it anyway, even as it only seems to make the PetitMeramon stronger and Masaru keeps ordering more.

After enough fire, the three PetitMeramon grow strong enough to fuse together and evolve into Meramon. (Hey, at least this one’s a non-partnered evolution that makes sense to be happening right now.)

Agumon: “It evolved! What now, Aniki?”

[Masaru grins]

Masaru: “This is perfect!”

I love Masaru’s cocky taunting face here. He knows he’s got this, and he’s so ready to just have a good old fight again, like always.

Masaru: “Fire sparks easily go out whenever the wind blows on them. But… Once they burst into flame…!”

[Masaru leaps to punch the Meramon quite solidly in the face and lands with his Digisoul flaring]

Masaru: “They won’t be extinguished so easily!”

This was what he got out of the old man’s words. Not metaphorical advice about his emotional struggles, of course not – instead, just very literal advice on how to punch fire. He couldn’t punch the PetitMeramon because they were small enough that the wind of his punches just blew the flames out before he could connect. But if he makes the fire bigger and stronger? Then it’s no problem!

And you know what this is? This is Masaru using strategy. It’s a strategy that he needed someone else to nudge him towards – he’s still not really the kind of person to come up with something like this on his own – and it’s also a much more straightforward, reckless, Masaru-style strategy than someone cautious like Tohma would ever dare to use. But hey. It worked.

(Also, please appreciate this ridiculous shot of the DATS car skidding sideways as it dramatically arrives on the scene. That is not how cars work, but okay. …In fact, surely it’s been less than seven minutes that Masaru’s been here; I guess Yoshino floored it to get here as fast as she could, hence the dramatic skidding? She drives like a badass.)

Tohma: “He got it to evolve on purpose… by making the fire stronger…”

See, even Tohma appreciates what the strategy was, even if he’s kind of gobsmacked at it being something so reckless.

And then, as usual, GeoGreymon wins the fight in a single attack. But again, I don’t really mind. The interesting part was getting to this point in the first place.

The Meramon disintegrates into three eggs, appropriate for the three PetitMeramon it came from – but it kinda raises some questions that this single Adult-level Digimon was effectively three individual Digimon in one. It also raises some questions that PetitMeramon was able to multiply itself just by its embers setting stuff on fire, and each of those multiplied offshoots also had its own individual egg. Is this just a particularly unique method of Digimon reproduction? I am definitely not supposed to be thinking about it this much.

Masaru: “How’s that? I was able to take out the PetitMeramon, too!”

Having shown that he can do just as good of a job as Tohma after all, Masaru has bounced right back from his self-doubt and is feeling good about himself again. This kid doesn’t stay down for long.

Tohma: “Don’t let this go to your head. You were just lucky this time.”

It really was not luck. Masaru used an actual strategy that he had good reason to believe would work. Tohma himself even just about acknowledged this during the fight… but not now, now that Masaru is properly listening to him and he’d have to acknowledge that to Masaru.

(A bit like how Masaru only acknowledged his own sense of inadequacy when Tohma wasn’t around.)

Masaru: “It’s just like I told you. The ones who don’t give up until the end win the fight!”

Masaru claims this is like he told Tohma, but is it really about him? After all, Masaru himself was the one who had almost given up for a moment. It’s more like he’s saying this to remind himself that he shouldn’t have done that and should have just believed he could do it all along. (Like the old man said, he just needs to let his sparks grow into a bigger, unstoppable flame!)

We cut right from the location of the fight back to DATS HQ, while the argument amusingly continues as if there was no timeskip at all. They were probably arguing like this all the way back in the car, too. (Poor Yoshino.)

Tohma: “Don’t be absurd. You don’t come up with any strategy or tactics. Do you think using force all the time will let you win at everything?”

He literally did come up with a strategy, though, Tohma! Maybe a strategy that relied on force, maybe not the kind of careful, cautious strategy that you’d use, but that doesn’t mean it didn’t count as a strategy!

Masaru: “Hah, sounds like a sore loser to me.”

Yeah, I think Masaru’s spot on with this one. Tohma refusing to acknowledge Masaru’s approach in that fight as a legitimate if risky strategy really does seem like he’s just being a sore loser.

(Though I like how Masaru himself isn’t even trying to argue that it was strategic of him. Clearly that’s not something that he sees as being worth bragging about.)

Tohma: “What did you say?”

Masaru: “Wanna make somethin’ of it? I’ll knock you out with one hit to the face this time!”

Oh my god, Masaru. Look at this competitive dork. Now that he’s got his confidence back and feels like he is just as good or better than Tohma after all, he’s ready to have a rematch in the ring and certain that this totally means he’ll win this time!

Satsuma shuts them both up with his, quoth Yoshino, “thunderous demon roar” – apparently a regular thing of his – and declares that Masaru and Tohma will be working together as a team from now on. Naturally, they are both Not Happy about this.

Yoshino: “This is the worst…”

Neither is Yoshino. This is a catchphrase of hers, which is sometimes used when things are going badly in a crisis, but is just as often used simply to express her sheer exasperation at the people around her. I love her role as the Only Sane Man among these two ridiculous over-the-top dorks she’s wound up working with.

Overall thoughts

I like this episode a lot! It’s a great introduction to Tohma, specifically in the context of him serving as a foil to Masaru.

There will be a lot more things about Tohma’s own issues and situation (like I said, there’s a reason for all the genius stuff, I promise) that we’ll eventually get into, but that’ll be a gradual process, because Tohma is not the sort of person to talk about his personal problems to anyone else. For now, since Masaru is the single main character of this series and we therefore see a lot of things through his perspective, it’s appropriate that Tohma is introduced in terms of how he differs from Masaru (as well as a few hints at their similarities).

Then, because of this, we get spend a lot of the episode on Masaru feeling outclassed and how he deals with that, and it’s delightful and subtle and I love it. The first two episodes were setting up the deal with Masaru encountering Agumon and joining DATS, but now that we’ve settled into a little more of a status quo, it’s the perfect time to start digging into Masaru’s character and have things begin to challenge his conception of his own strength. There will be more of this, and I’m looking very much forward to covering those episodes in particular.

This won’t really ever come up again, but it’s incidentally neat to see Masaru struggling with an enemy he can’t punch, and eventually coming up with a strategy by interpreting the old man’s metaphor about his issues literally, because of course he does.

I also just love the old man being there making metaphors about Masaru’s issues simply because he felt like it and finds Masaru interesting. He serves as a nice little narrative device to help draw the audience’s attention to when things are going on with Masaru, as we’ll see in a few more episodes in this arc. I can’t help but appreciate that about the old man, because it’s also basically what I’m doing with this commentary.

---

[Dub comparison]

#digimon #digimon savers #masaru daimon #tohma h norstein #the digivice old man

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nagisasstunningpersonality · 4 years ago

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The Things About Ass Class That I Don’t Like

The handling of cross dressing/feminisation

(this turned a lot longer than I intended actually so I guess I’ll post this on its own for now - there’s a TLDR at the end)

Starting with the most controversial one. Actually, I don’t have the biggest issue with cross dressing itself being in the series. Given the context of Ass Class being the kind of semi serious comedic series it is, and also just... social/trope context. It’s not entirely out of place. But it’s not really my place to state whether cross dressing jokes are okay or not as it is - make no mistake, I’m not trying to argue those kind of jokes are okay in the first place, but it vaguely doesn’t seem out of place to me in this kind of anime.

Two issues.

1) It’s not just a three second gag every now and then. I don’t think it would be as much of an issue in the fandom if, say, the extent of the jokes were the same as that time Korosensei painted Karma’s nails/put him in a heart apron. It’s not as severe, but those are still a form of feminisation. The Nagisa jokes are very drawn out, important parts of episodes in cases.

See the difference between Nagisa exclaiming “you thought I was a girl?!” in the water, vs the entire island arc scene? It would have been a little more okay if the comedy had just stuck to light fun poking.

2) It was evidently decided that cross dressing wasn’t just going to be a joke. Hear me out here, but this actually could have been a great thing. Japanese society as a whole is very uh... by the rules, so Matsui kind of lightly speaking out about, most obviously, the flaws of the education system has always impressed me. Him maybe trying to say crossdressing jokes aren’t the best? Considering what Ass Class is?

What we could have had was an exploration, and a real kind of social statement that ‘hey this trope is kind of bad, actually. You don’t know who it might upset’. And we semi got it? I honestly think the intent - if that was Matsui’s intent is really great. Showing that an innocent joke can really have an affect on a person as they might have a crazy home life nobody knows about.

Ass Class, I’ll put it bluntly, is too short. That’s my explanation for most of these points, actually. Too much was attempted in too little time. Not to mention that Hiromi is kind of cartoonishly evil at points (i.e. knocking out her son and almost burning down the building???), where making her clearly mentally unstable kind of takes away from her abuse, as I see it.

In making Nagisa’s appearance forced, there was a chance for real character depth and commentary. We got it in a way that... yeah, it’s definitely there, but it’s not expanded enough on and kind of pushed aside whenever it’s convenient. He never completely committed to it.

Notably I think the scene most people have an issue with is Nakamura’s apology. This could have been brilliant, an admission that it was wrong. However it was kind of cheapened by immediately dressing Nagisa in a skirt again and trying to sell him to Yuuji. As much as I love Yuuji, it’s very understandable why so many people don’t like that scene. Again, they couldn’t QUITE commit to an actual call out and that’s a shame.

I do think though we also have to remember that this is literally a shounen jump comedy manga with an octopus teacher. It has a lot of heart snuck into it, but it’s not going to be the same as some great socio-political piece of literature.

I also think that it’s not necessarily right to assume that Nagisa didn’t mean it when he said he was okay with Nakamura and Karma doing it. Actually, looking at the DIRECT Japanese, it’s actually a little different to what the official translation says? Looking at the manga, which is the most direct form of Matsui’s words. It’s also WAY less of a scene there, literally just a couple of panels thrown in.

Nagisa specifically says “全然！中村さんやカルマ君にいじられる分には” - in case someone else wants to cross check it. The official English translation is “Not at all! I don’t mind being teased by you and Karma!” And it’s not exactly wrong, to the extent I wouldn’t bother re-translating it. However! A big thing that’s missed out though is the や (ya). It’s basically being translated as “and” here, but it doesn’t mean that in a binary sense. If you’re listing two objects in Japanese, you use ‘to’, ‘ya’ implies there’s other things. Therefore I think I slightly more accurate to meaning translation would have been “I don’t mind being teased by you, Karma, and the others”. It’s not clear who Nagisa actually means with ‘ya’, but I’d assume probably 3E as a group. His friends. I think he picks out Karma specifically since he does it the most beside Nakamura. So I don’t think they were being given specific special permission.

I’m also not sure about claims that he’s just saying it out of pressure. I mean, if that’s your interpretation then I can’t stop you. But my personal opinion is that yeah, he doesn’t mind his friends teasing him really, but he doesn’t want them to go too far with it, or make him act like a girl outside of their setting. I’m not saying that makes teasing after the fact necessarily okay either, though I do think it’s noticeably toned down for sure. I also disagree with the argument that Karma’s this horrible abusive guy for making jokes here and there - doing a lot less than Nakamura in my opinion. I mean, Karma isn’t meant to be a super nice ikemen character, but I don’t think it goes as far as a lot of people think it foes.

I don’t think the general fact that there’s a lot of fem nagisa art and fics in this fandom helps matters. But that’s not exactly a series issue.

Regardless, though, it’s just a missed opportunity. And I think that if Matsui was set on putting it in, he should have gone all the way with it. It’s not like, necessary to the series in anyway. Hiromi could have been abusive enough without the whole gender thing.

On the other hand, I do think it was handled a little better with Kataoka - and to a lesser extent Okuda. She’s meant to be boyish, and it’s a joke at times, but it’s never cruel and she’s not uncomfortable enough for so long that it massively effects the audience. She’s also very clearly struggling more with what it means to be a girl, rather than just physically being one. I do wish we’d have more of a resolution for this, though, since it would have been a very interesting and subtle point.

I don’t think these kind of narrative messages should be right there on the surface, but they’re kind of so deep within ass class I’m never sure if it’s a reach or not.

Anyway TLDR: Ass Class tried to pick off more than it could chew, and the intent of its messages with regards to this subject are kind of confusing.

#assassination classroom #ass class #ansatsu kyoushitsu #cross dressing #nagisa shiota

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tenacityreturns · 4 years ago

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aokaga fic alert!

plot: in which kagami and aomine talk about beautiful soul by jesse mccartney and also accidentally injure each other ♥ rating: sfw, very domestic, it’s just them being stupid idiots. also i wrote this in one sitting without taking breaks or reading over it so.... haha.... word count: 2098

it all started with two guys, chilling on the sofa, going through each other’s phones. or more specifically, the music apps (and kagami’s photo reel, but don’t tell anyone because aomine had only gone in looking for something of nigou!). whenever kagami encounters a song title that interests him, he’ll click on it and let about ten seconds play before he changes song again. he gets the idea.

aomine, meanwhile, will let the songs he finds play in full. not because he respects the skip button and doesn’t want to overuse it, but because he doesn’t understand english and it becomes background noise. he’s just chilling now. legs stretched out over the couch and on top of kagami’s knees, his back leans on the armrest and he thinks about dinner instead. how cheeky he’s feeling with directly impact how extravagant his dining requests will be.

“i just took a screenshot,” kagami says blankly, with a light frown on his face.

“why?”

“i wanted to remember this song, it’s kinda cool.”

“but you’re using my---”

“yeah i know that, i forgot.”

aomine half smiles, returning to the screen. dummy. “i’ll send it to you later.”

he decides to lightly hack his boyfriend and dives onto his instagram. looks up his own page, saves a recent selfie, uploads it from kagami’s account. first, he thinks about captioning it something like sexy, or why is this guy so hot??? but decides against it and instead writes ‘i’ll never be as cool as him :(’ haha. good, harmless prank. who’s this girl that liked it immediately, huh! well, they follow each other, but aomine doesn’t like how snooping around like this is making him feel. his blue eyes will raise, taking in the sight of kagami tapping his hand against aomine’s shin in time with the song. his lips are moving, then his shoulders.

is he... sort of singing along? but to which song? he can’t hear the music from his own phone well enough with kagami’s so nearby, but then... he doesn’t recognise this american music... hm. aomine’s fond smile is forced into a smirk for dignity’s sake.

“what are you doing?”

“huh?” kagami blinks, and the tapping stops. “i used to love this song.”

“used to? it’s on your recently heard playlist, dude.”

“it’s a classic.”

“is it? i never heard of it.”

“me and niji sing it all the time, y’know, just around.”

“okay,” this emotion, unlike the snooping guilt, is straight up jealousy. shut up about nijimura already! we get it! you’re friends! “what’s it about?”

“uh,” cogs turn. his lips move again, maybe in time with the song’s lyrics? aomine isn’t sure. “like, he’s singing about not caring about looks. just... you know, wanting the person’s beautiful soul. that’s what it’s called.”

“sappy,” what a loser. this sounds like the kind of thing satsuki would be interested in for sure. aomine gets an instagram notification from kise and ignores it, then remembers his prank and that this is kagami’s phone! he opens the app again and that blond bastard has written a comment:

‘looks like you need a new password kagamicchi!’

and seen right through the prank! dumb luck. except--- here’s tetsu commenting:

‘you should never leave your phone with untrustworthy people, kagami-kun.’

shut the hell up!

but his oblivious rival distracts the on-coming fury by starting to sing. the tapping against his shin has started again, and he’s still scrolling through the playlist and changing songs, but singing this beautiful soul song. in english. show off! ah, he’s got a nice voice though. and he looks real cute sitting there like that. aomine doesn’t suspect kagami of snooping through the photo reel or posting to instagram, in fact: the thought hadn’t even crossed his mind. aomine’s head rocks to lean against the back cushions of the sofa. his fond smile returns.

“you singing about me, bakagami?”

of course he’ll find a way to ruin a perfectly nice moment, and a fleeting glimpse of serenity in his boyfriend. kagami doesn’t look away from his phone, but says something in english that sounded like a comeback. aomine presses his heel into kagami’s thigh, but it incites a more genuine flinch that he’d been expecting and both legs are instantly retracted.

“sorry,” aomine blurts, “i forgot about your leg.”

“what about it?” kagami replies breezily in japanese again ( that is, as breezily as possible through gritted teeth ).

hello again, guilt! aomine rests his knees against the couch, peering around them to watch kagami recover. if he doesn’t in five seconds, aomine will--- no, he can’t last that long. he sits up.

“ah, man, can i get you something?”

“i’m fine, it’s just cramping from sitting so long,”

this guy! they’d not been sitting for half an hour yet! he’s just saying that so aomine won’t feel bad... the bastard... of course he’s going to feel bad!

“wipe that look off your face!” kagami exclaims, “now get outta my way so i can lie down.”

he doesn’t look pissed off, or in pain anymore, which is something. god, wouldn’t it just be easier if kagami could tell him when his half-hearted grumpy statements are genuine or when they’re just him speaking and sounding angry because it’s how he talks?

aomine rolls himself off the sofa. “is your leg okay?”

“don’t worry about it,” the redhead returns to aomine’s phone but extends his arm off the sofa. an invitation to join him? but can’t he just say that he isn’t mad right now? ah, look! now he’s glaring at him! “daiki. are you gonna make me say it?”

“say what?”

kagami crunches forward and the arm, still extended, reaches for aomine’s hand. of course he’ll accept the gesture. one second, they’re holding hands ( safe, comfortable, in understanding ), and the next, aomine is falling onto the couch and acutely aware of making sure he doesn’t land on the bad leg.

“be careful!” he scolds, arms bracing against the back of the couch, knees safely avoiding kagami’s limbs. “sheesh!”

“i said don’t worry, didn’t i?”

“i dunno, you talk a lot of shit,” how come aomine’s pissed off at him now!

“what!” kagami launches forward and wraps one of his arms around aomine’s waist, dragging him back as he lies down again.

“taiga!” aomine’s still more concerned about the injury.

“shut up about my fuckin’ leg or i’ll snap you like a toothpick!”

ugh! fine, alright. he’ll give in. aomine definitely sends kagami a look. it’s short-lived, though, and he finds a teasing smile. his hand rests on kagami’s massive bicep. “with these muscles? good luck with a real toothpick, buddy.”

“shut the fuck up, i’ll show you!”

there’s no doubt that kagami hadn’t actually intended to show him, but aomine’s back lasts a total of two seconds of a too-tight hug before it cracks. loudly. it didn’t hurt. caught him off guard, yes, makes him have to pause and stretch his back for a second, sure, but it didn’t hurt. kagami’s staring, aomine notices. not immediately apologising despite the sound, he sees! red eyes are wide, lips tightly turned downwards. he’s waiting to check the damage before damage control kicks in.

“you good?”

“is that all you got?”

“sorry about your back,”

aomine lowers down to lie chest-to-chest. he adjusts so that it’s comfortable to lie with his head on kagami’s shoulder. “yep.”

“does it hurt?”

“nope.”

“good,” and just like that, an arm drapes around aomine’s shoulders and they’re lying in almost silence again. kagami’s phone is somewhere on the other end of the sofa, still playing that muffled song. how long does it go on for?! that beautiful whatever conversation feels like it happened hours ago! of course, it had been the singing that started the teasing which sparked the retort which justified a prod, which had hurt and begun this mess. aomine exhales. kagami starts humming along to what aomine has guessed is the chorus.

“what sorta sappy shit is he saying now?” he closes his eyes.

“uh,” kagami begins to translate the lyrics disjointedly, really having to think about it before he says it in japanese.

I don't want another pretty face I don't want just anyone to hold I don't want my love to go to waste I want you and your beautiful soul

“it sounds better in english,” he then explains, “and when jesse sings it.”

“nah,”

“what do you mean nah?”

oops. well, yeah! alright. so aomine likes kagami’s voice better than this jesse person’s! big whoop! “nothing. so you were definitely singing about me, then.”

“yeah, i got sick of dating hot people and decided to settle.”

“shut the fuck up,” aomine’s smiling, knowing full well that kagami’s not dated anybody before. cheeky little shit!

“all the d-cup supermodels in america, you know.”

“i thought i told you to zip it?” he lifts his head. the stare-off doesn’t last long before kagami just straight up kisses him on the cheek! “hey!”

“can i have my phone back?”

he deliberates being difficult. deliberates telling kagami to get it himself, that he doesn’t know where it is, or just no. for fun, mostly. but then, that kiss had been really cute... and kagami had been kind of nice just now, before the bullshit, about translating and stuff... fine. this once, kagami’s off the hook. saved, even. aomine pushes ( carefully! ) up, finds the phone precariously close to the edge of the sofa, and returns to his place. once comfortable, he’ll hand it over. ah! the prank! he’d forgotten about that. kagami gives aomine his phone too and they are once again silent.

huh. that sure is a lot of facebook likes. his last picture wasn’t even that interesting. or was it? aomine opens the app, trying to recall what it could be about. did he get notifications for likes on things he’d shared? aomine rarely shared anything. oh, to be fair, he did share a video of nigou yesterday saying “he’s the only member of seirin i respect”... was it... that?

a picture aomine absolutely did not post is at the top of his own feed. it’s the seirin team picture, but, naturally, aomine had first seen only tetsu and kagami ( the others are definitely there, but not as interesting or important to look at, you know? ). posted twenty minutes ago. captioned: “i apologise for my last post about seirin, i’m a big idiot. they are really cool”

“hey!” aomine lifts his head up again, though this time, with an expression full of accusation. it meets kagami’s equally offended gaze.

“you posted to my instagram!”

“you posted to facebook! that’s worse!”

“no way!”

“yeah way!”

“everyone knew i got hacked, though,” he grins, “you ain’t slick at all.”

“as if i would ever call myself a big idiot, ever. they would instantly know you posted that to facebook. who else thinks seirin is cool?”

“everyone with brains!”

“bullshit!”

“idiot,”

“dumbass,”

aomine set his head down again. so much for trustworthy boyfriend, kagami taiga! though... isn’t it kind of funny that they both, separately, decided to post to each other’s social media? he’s trying hard to be pissed off about it, but the smile is too strong and, once again, he’s smiling over something kagami has done. satsuki comments under that hacked facebook post:

‘two sides of the same coin.’

which, to the unaware, means nothing. in reality, it makes him think of that thing he’s still accidentally in the habit of saying sometimes. the only one who can beat me is me. maybe kagami really is similar to himself after all? however, it’s hard to imagine that they’re that similar. aomine really likes kagami, after all.

“hey, taiga?”

maybe aomine will tell him he loves him again. does it cheapen it if he’d said it yesterday as well?

“yeah?”

“what’s for dinner?”

chicken.

“chicken, i think.”

aomine blinks. that was almost spooky.

“taiga?”

“still here,”

“love you.”

“pfff,” it’s a scoff! “lame.” insulting!”

aomine pinches him gently in the side. it makes him laugh, even if kagami isn’t that ticklish.

“alright! love you too, obviously. i kissed you, didn’t i?”

“yeah, yeah, yeah. chicken sounds good.”

“are you gonna tell me you love chicken, too? who’s the sap now?”

someone explain why such an irritating response would make aomine’s chest swell as much as that kiss on the cheek? yeah, he’s dead sure if he hadn’t been before. he loves you, kagami taiga, you dumbass, so much. of course he does. they’re two sides of the same coin.

#aokaga #aokaga fic #knb #knb fic #aonon.#drabbles.#this is stupid i just LOVE how they talk tho............................... theyre so fun to write #this is truly all over the place and it's really 1am #so miserable that it's 1am

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yooleestruck · 4 years ago

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in which lee rambles about how great writers are

I don’t really know what this is. I don’t know if now is the right time to do this, or a really bad time, or if it makes any sense, but I want to talk about it! I feel like a broken record saying ‘the writing matters most, the writing matters most’ but maybe I need to show what I mean by that? So, here is an attempt.

I’m sorry not all of these are the same length and not everyone is here, because every time I see that someone is a writer I do try to follow but I don’t always know/remember! Also I am weird about this sort of thing and don’t want to tag people in a monster-long post, so I’m just going to link. I also don’t want to make this a producers vs writers thing, it’s not, it’s just, when I say I notice writer-stuff, an explanation of what, specifically, I mean.

Writers have a style fingerprint. I’m sure someone with an actual creative writing or English background could describe it all academic-ly, but my ex-chemist ass is just going to call it a fingerprint.

My first game in Lovestruck was Starship Promise - I love Firefly, I’m a bisexual disaster scientist by education, it fit. But I had been REALLY put off by GIL when it first came out (this was back when they released stories in parts? And the heroine, which I will get to) and though I’d glanced at AFK, I mistrusted it after GIL and Medusa, who was who I was interested in, wasn’t out yet. So I resisted a LONG time. I finally picked up LS and SP and played it explicitly because a friend said, you need to give this another chance, for a list of specific reasons.

And when Atlas’s route came out, I read it a stupid number of times. I must have re-read his season 1 & 2 at least eight times apiece (he is still my most read route, despite the fact I have not read his last season because I want to leave the story open-ended) so when I read Neil Dresner’s route, I recognized the fingerprint. Not only that, when I was reading Jett and the episodes with the paint scene (YOU KNOW THE SCENE) came out, my breath caught with how lovely it was, a particular in-between moment and touch, and even though it wasn’t a phrase I had seen, the style of it, had me re-reading (because it was gorgeous) again and again from the log for like five minutes and I thought, “I bet Melissa wrote this” AND SHE DID.

Physical touch! (& in-betweens)

Melissa-grey has a particular way of writing about physical touch in very emotional moments that is very real and grounded and ironically the effect is just magical. It creates these so skillful “in between” moments, those little things that aren’t dialogue and aren’t metaphor but SHOW you that this closed off person is cracking for their little ray of sunshine. They are SO subtle and so beautiful, like, the heroine noticing the scent of a pillow, or a softening of an aborted hand movement. She sets up and executes these moments of physical touch as a conduit for emotional touch with characters who aren’t ready to admit he latter and it’s DELICIOUS. Those little in-betweens are what I live for in story - and it includes all the supporting cast moments, who swell up to make the world feel lived in, and balanced (I loathe love stories where no one else exists! That’s a recipe for disaster, people need networks) I noticed when she stopped writing, and because I missed it, I went and bought the entire Midnight Girl series, as well as Rated (I hope that is flattering and not creepy!) and that style of writing is so unique, that without KNOWING, I picked it up in four separate routes (noticed in Sev’s s1, too!)

Pacing (& friggen heartache)

Another fingerprint! Ripping your heart out! Arthoure has had me in tears, MULTIPLE TIMES and I get very grouchy about it every time because I am the least sentimental and romantic person that I know (I once MOVED STATES to avoid an ‘I love you’ conversation. I once said ‘yikes’ in response to an ‘I love you’ and I once broke up with someone because I thought he was going to propose. I’m a bitch) but I think it’s because of pacing! I know that producers play a role in that, but that actually makes it more impressive, because making each bit of story feel like it fits precisely the amount of space it needs when you don’t really get a say in how much space that is has got to take a MASSIVE amount of effort. Every little hint, every emotional beat, every character tell, they drop at a consistent build so the emotional payoff is just brutal (in a good, cathartic way?) every time a route makes me cry I wait and see and YEAH ITS ALWAYS ARTHOURE. The sweep and sentiment of Remy’s season 2 is unparalleled. Across Time is gutwrenching, and I actually stopped reading Renzei at one point because I was so emotional over it I had to like, LEGIT TAKE A BREAK to recover. Pacing and heartache. I have to stop and wonder - is it because the routes themselves are so gut-punching? OR is it because she knows how to wring every last emotional drop out of whatever story framework is handed to her? Because, Ezekiel’s villain costume is a bit silly (there I said it, it is) I get the cobra helmet shape in theory but in practice, ooof, but POINT BEING despite being skeptical I’d be able to take his story seriously as a result, I was hiccuping from crying so much (and I am gosh darn adult, in my thirties, with three degrees and a high-stress job at pretty major company. I DON’T CRY EASY)

Dialogue (& heroines!)

Xekstrin is the gosh damn master of dialogue. Clever, witty banter that doesn’t go where you expect it to, meandering but natural topic changes that are delightful to follow and feel real, and--special shoutout for this, okay--the navigation of viscerally important topics like consent, kink, self-worth, power in relationships, self-sacrifice, and apologies in a way that is not stilted or forced at all (listen, I know Viv & Lyris are the most recent and they are amazing but I remember this first hit me when I was reading Astraeus, and I spent half the route with my jaw on the floor going, oh shit, oh shit. The communication! The navigation of the complexity of emotion going on, chef’s kiss! Casual isn’t the right word, but, natural, maybe?). I don’t actually take that many screenshots of the app--it’s usually single lines that get me--but when I do, they are almost always conversations from one of her routes, because they’re so damn good, and often so unexpected, and yet always make such perfect sense for the characters involved. Dialogue is SO HARD OKAY. Actually try and transcribe a conversation sometime, it’s nuts how people talk vs how most people write people talking. Xekstrin also writes some of my absolute favorite MCs, and going back to fingerprints, I was reading Lyris s1 and right there in the first tavern scene, as we were following along with the heroine’s thoughts I went, ah, yes, I know who you belong to and I am SO EXCITED. Being able to give the heroine unique thoughts and quirks, to make her genuinely relatable, without overriding the necessary template of the genre dictates, is a skill all of its own. But I love her MCs! There is a beautiful balance of compassion, competence, and dash of bratty, wild, fun mischief. I can actually cheer for them. I can actually get behind them. I WANT the love interest to flop at their feet for who they are, not just because the story says so. And that comes from how the heroine’s thoughts are written, from her phrasing in conversations, how she sees situations, not just a producer saying ‘she is a strong lead who is self conscious about her ears and she’s nervous in the council meeting’ or whatever. I AM REALLY STRUGGLING to articulate this if you can’t tell from how long I have been blathering. Maybe this - the heroine is the same across every route, presumably, yes? Everyone has the same base. I NEVER question, when xekstrin is writing, why the love interest falls in love with her. Side note - I had hard written off GIL after a bad experience with the standalone app. I only read Aurora BECAUSE I learned she wrote it, and I would have SO MISSED OUT otherwise.

A complete aside in which Lee grumbles about heroines and not writers!

(Complete side vent: Often, the heroine is, if not a blank slate, a sort of collection of assigned traits, and she often remains so unless the story demands she become otherwise. Which is fine! I don’t personally, but I know a lot of folks self-insert, and so erring towards that makes sense. Almost all the otome I’ve played were originally written for a Japanese audience. When I played original Voltage games, starting back in 2014, I always had to remind myself - different culture, different culture, different culture, and it was not possible for me to relate to most of the heroines. I still enjoyed the stories, but I rarely cheered for the heroine’s romance, especially in some of the slice of life stories. I understood her, but I rarely wanted her to get with the love interest, I wanted her success to come in other ways! Another game company, Cybird, tried to ‘Americanize’ their heroine to IMO disastrous effect - it was such a stereotype, and made no sense since they didn’t also Americanize the context, so she come across as, frankly, ridiculous. And frankly, Voltage’s GIL heroine REEKED OF THAT. When they first posted her on social media I was legitimately annoyed about it, like could you lean into this more? I think not. So when I talk about being able to relate to and cheer for the heroine, it’s a big deal, because my blatant mistrust of Voltage and their ability to craft a heroine I could tolerate was a BIG factor in how long it took me to give Lovestruck a try. I was willing to tolerate it in translated stories, I was so skeptical of -en only ones.)

Metaphors (& balance)

literacouture writes beautiful metaphors for connection between humans! I’m really bad at keeping track of who writes what, but I purposefully kept an eye out on tumblr after reading Cal’s route, because there were some lines that were pure poetry, and I wanted to keep an eye out for more. It is HARD to spin metaphors prettily without delving into trite, painful, purple prose cringe territory, and it’s navigated beautifully in Cal’s route. There’s a balance between those spin-out moments and things that are tangible and anchoring and make it feel authentic and unique to the two characters involved, instead of just ‘I am trying to make this sound romantic and this is a romantic phrase so here it is’. That balance is really necessary. You NEED the mundane alongside the metaphor or it doesn’t feel authentic. Also. Trying really hard to write this without throwing any authors or producers under the bus, but...listen. I love Sin with Me. But the world logic (or LACK THEREOF) drives me up a wall. I don’t read Cal because of his character traits or sprite or (sigh) his story. I read him because literacouture writes a beautiful romance.

So anyway...

There are more! When I am less tired and don’t have meetings, I will try and write them up (Please know there are so many routes I love, and so many things I do recognize across chapters! I don’t even HAVE words for what theivorytowercrumbles accomplished with Helena’s story not to mention how much I adore Cyprin, SummerLightning’s handling of Onyx’s past relationship was so deftly done when it could have so quickly become ‘milk abuse for plot’ and joidecombat gave Sev a fresh, mischievous energy and navigated the dream/reality line with SUCH skill, and so on and so on.)

I’ve written a lot of reviews. And I try to give nods where I feel they’re due - sometimes, it really is obvious that the whole team’s work came together to makes something great, the world, the plot, the arc, the art, the words, and the music all fit into place in a well-crafted tour de force. And sometimes one piece or another is lacking, and I’ll admit I’ve left some...less than kind reviews to that end (I try and soften it, because I know there are humans on the other side of everything, but I’ve been harsh more than once with my opinions). I’ve read routes with plots that made me want to tear my hair out because I DO value consistency and logic to a degree, even if I’m going to accept at face value that, say, space travel is a thing or demons turn to sand when stabbed.

In the end, these are romance stories. So I will let a lot slide when it comes to plot. What sells a story are the words - not the outline.

And if Voltage doesn’t believe that - just remember that Hamlet existed long, long before Shakespeare wrote it. His was the version that lasted, because the people liked it best. The plot, the world, the characters, they all existed a hundred times over. Even just look at fan translations of manga. Why do people keep translating, even if someone else has? Because the words someone else picked don’t do the story justice.

I don’t know. I’m talking in circles because I don’t know my own thesis!

Maybe it’s just - the worlds these stories in are nice. But when I say I’m a fan of something, the premise is like. 10%. The rest is the writing.

#lovestruck #lovestruck voltage #lovestruck writers appreciation week #this isn't exactly one of the prompts #but #it's in the spirit of it #brevity may be the soul of wit #but that just means I'm not very witty I suppose #this is not a complaining post #except for maybe one section where I go off on heroines COUGH #but it's flagged

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medea10 · 4 years ago

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My Review of Sarazanmai

How did I get into this anime? I heard “things” about this anime. 2019 was a weird time to be alive apparently. You know, before 2020 happened! As much shit as I give 2020, at least they didn’t give us kappas eating people’s asses.

Yes, I just said “kappas eating people’s asses”.

Be afraid. Be very afraid!

Kazuki Yasaka is a young boy who must carry around a box wherever he goes and follow specific directions day-by-day. Toi Kuji is a delinquent that breaks into cars and commits other crimes throughout the city. And Enta Jinnai is a childhood friend of Kazuki…He’s there too! These three boys have been chosen by the kappa prince, Keppi to help restore the Kappa Kingdom to its former glory. Kazuki, Toi, and Enta can now transform into kappas by being eaten ass first by Keppi and then shit out. Yes, I said eaten ass first and shit out by a kappa! These boys then must eat the inner-most desires of these kappa-zombies that are causing Keppi trouble. And these inner-most desires are located…in the ass. But there are those from the Otter Empire that cause this trouble for the kappas by turning folks into kappa zombies and causing havoc in the real world.

I would not expect any less of a mind-rape anime from the great Kunihiko Ikuhara.

BETWEEN THE SUB AND THE DUB: Even playing a kappa, Junichi Suwabe still finds a way to give me an erection.

Okay, let’s try that again and not make it sound disgusting, Medea.

Right! Let’s talk licensing. FUNimation is the licensors of this fine product. Seriously? Eating ass is fine, but you frown upon the likes of Interspecies Reviewers? Yes, there is a dub to this and believe it or not, I pretended it didn’t exist. Not because it was bad or anything! It’s just that this anime had the likes of Mamoru Miyano, Kouki Uchiyama, Rie Kugimiya, and Mr. Sex-in-a-Voice Junichi Suwabe. Let me state that my infatuation with Suwabe is like John Oliver’s infatuation with Adam Driver.

That…totally doesn’t help my case! Here’s what you might recognize these folks from.

JAPANESE CAST: *Kazuki is played by Ayumu Murase (known for Minami on Yuri on Ice, Luck on Black Clover, Asuto on Inazuma Eleven: Aries, Madoka on Shounen Maid, and Shinichi on SAO)

*Toi is played by Kouki Uchiyama (known for Yurio on Yuri on Ice, Soul on Soul Eater, Rui on Demon Slayer, Ikuya on Free!, Benedict on Violet Evergarden, Midnight on Fairy Tail, Yuu on Charlotte, and Ichijou on Nisekoi)

*Enta is played by Shun Horie (known for Kazuya on Rent-A-Girlfriend)

ENGLISH CAST: *Kazuki is played by Alejandro Saab (known for Leon on Pokemon Journeys, L’Arc on Shield Hero, Kuga on Food Wars, Yamazaki on Cardcaptor Sakura: Clear Card, and Takezou on Kono Oto Tomare)

*Toi is played by Ricco Fajardo (known for Koutaro on Zombieland Saga, Itona on Assassination Classroom, Karim on Fire Force, Natsuya on Free!, and Kyousuke on Danganronpa 3)

*Enta is played by Justin Briner (known for Deku on My Hero Academia, Yukito on Cardcaptor Sakura: Clear Card, Shou on Fire Force, Luck on Black Clover, and Ryouta on Danganronpa 3)

SHIPPING: Well…we got our BL kiss by the third episode. That’s quite early for an Ikuhara anime. Ooh boy, Enta loves him some Kazuki. He REALLY loves Kazuki! There’s a lot to be said of a boy that would sniff and fondle items owned by his lover and kiss his unconscious lover. I can understand why Enta would care for Kazuki. I mean after hearing that he’s truly his first friend after a childhood of traveling around and not making many friends, you want to feel for this kid. Key word here is “want”. But this boy goes too far sometimes and his jealousy does get the best of him to a point where I’m just saying, cut ties with the megane brat. But Enta ends up screwing things up again by taking a bullet for Kazuki and throwing all that anger out the window.

And then we have Reo and Mabu! God damn Reo! We’ve got shark teeth, an arrogant attitude, homosexuality, and the voice of Mamoru Miyano. This is just a Rin Matsuoka of a different color! If Reo and Mabu’s otter dance isn’t a dead giveaway, they totally love each other. To a point where they would sacrifice each other for the one they love.

POLE-DANCE ALERT: I don’t know why I always find random pole-dancing moments in animes so alluring. I guess I can blame the likes of Grell from Black Butler. But this moment was so random that it came right the fuck out of nowhere. Then again, this entire anime is an enigmatic brain-fart that it was only a matter of time before a kappa prince starts randomly dancing on a pole.

There we go, Medea’s love for random crap will never die!

ENDING: Throughout the series, Kazuki, Toi, and Enta were gathering these dishes in order to get a wish granted by Keppi. And each time they’ve gone up against a big bad otter, Reo and Mabu are usually the ones to bring out the kappa zombies. But everyone has a plan for using the dishes of hope for their own wishes. Enta wants to use it to stay with Kazuki so the two can remain the golden duo. Reo and Mabu want the dishes to be with each other and save one another after an incident nearly killed them. And Kazuki originally wanted to use the dishes for his baby brother’s own sake, but changes to wanting to help Toi (who ends up leaving with his older, criminal of a brother). And shit goes crazier than what I’ve just mentioned. Enta fucks up by stealing the collected dishes and really fucking up his relationship with Kazuki! Toi ends up leaving town with his criminal brother.

Reo and Mabu, the otter cops shoot Kazuki, but Enta takes the bullet and is hours away from dying. But then we learn that Reo and Mabu were actually kappas who worked under Keppi. It’s just that the otters have been manipulating these two. Mabu is just a hollow body created by the otters because of some accident that happened prior to the events in the anime. The otter gives Mabu a mechanical heart to keep him alive, but in order to stay alive, he cannot say he loves Reo. Unfortunately for these two, Mabu ends up saying he loves Reo and dies right in front of him and vanishing from his memories. Reo is then shot by Toi who comes in at the last minute.

Toi’s back. We all knew it wasn’t going to last. His older brother got shot dead the episode before. So Toi is going to use the dishes to resurrect his brother from the dead. This leaves Kazuki in shambles as he was going to use it on Enta before his body expires in like 10 seconds. In the last minute, Kazuki used the dishes on Enta and he’s going to live. End of story right? No, we still have a demented otter on the loose. And the otters have a dark Keppi that he’s been storing for just this sort of moment. And now it grabs Toi and Toi accepts. He wants to erase his existence from Enta and Kazuki’s lives. Problem is if he does that, Toi erases giving Kazuki the ankle bracelet that’s been a staple in Kazuki and Enta’s relationship when it comes to soccer. But the boys were able to connect, destroy the otters, bring the memories of Mabu and Reo back, turn Keppi into a kappa prince, and save the town from OTTER-destruction.

Yeah, if you watch this series, you’ll hear a lot of puns involving otters. I mean when you’re not smothered in sexualized otters and kappas.

The ending credits show Toi getting sent to juvie for three years. And it’s quite sad to see his dejected face while the ending song blasts. When the lyrics literally say “stand by me” it gets quite sad. Three years pass and Toi’s out of juvie. He goes to the bridge and jumps off. Keep in mind this is an Ikuhara anime, Toi’s not gonna die. Enta and Kazuki jump in and join Toi and welcome him back to society.

Good lord Ikuhara-san! I didn’t think you could out-gay an anime after the likes of Yuri Kuma Arashi. But good fuck, you found a way! This anime was…INSANITY. Pure insanity! Then again, this is the same director that did Revolutionary Girl Utena, Yuri Kuma Arashi, and Mawaru Penguindrum. Yes, connection and desires are a big take in not only Sarazanmai, but a lot of the other animes Ikuhara does. It’s just that Sarazanmai is the strangest acid-trip of them all. And that’s saying a lot because Yuri Kuma Arashi has sexy bears that say “Shaba-da-doo”. ALSO VOICED BY JUNICHI SUWABE! But people getting turned into kappas by being eaten ass first by another kappa and stealing spirits inner most desires, conveniently stored in their asses is some wonky-ass crack-fest. Recommendation wise, I would say watch some of the other animes Ikuhara has directed to get your feet wet in what you might expect in this kind of anime. After that, pop in a few Bakemonogatari episodes just for good measure. And after you do all that, take some CBD gummies and let-a-rip with Sarazanmai.

If you want to watch Sarazanmai, Crunchyroll and FUNimation have it available for streaming.

Okay, what’s next for my FUNimation list?

Okay, boobs! What are we talking here? Are these boobs flat as an ironing board or crimes against nature like in Eiken?

Oh, this can’t end well.

#sarazanmai #anime review #enta jinnai #keppi #junichi suwabe #toi kuji #kazuki yasaka #reo niiboshi #mabu akutsu

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yukusaki · 5 years ago

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Hi I've been trying to learn the Japanese language for quite a while, I've been using Memrise and NHK Japan but i am having trouble with their grammar and I'm not sure if I ever made progress. Now, I don't know what's my next step to improve. Do you have any recommendations? I hope u had a good day :>

And to no one's surprise. I wrote an actual novel on the topic.

I'll give you some resources but I recommend trying out different kinds to see what works for you. Learning about your own learning style may also help--for example, I'm a very hands-on learner so I can read about grammar rules all day but until I actually try to put together my own sentences using those rules and get some feedback on what's right and what's not, I Will Not be able to use those rules effectively. Also I have no motivation so I don't study on my own unless I'm working towards a goal (such as the JLPT or answering an ask)

I started with the Pimsleur program, recorded audio lessons that were at my library to check out. You'll learn phrases mostly, but it does not go into detail about grammar and you will learn nothing about writing. If you're mostly concerned about grammar you can definitely skip this one. You can try programs and apps like Duolingo, Rosetta Stone. etc. Duolingo is a bit better about grammar rules and stuff but depending how in-demand the course is, it might not explain anything (try the PC version if it doesn't). I personally think apps like this are good for basic grammar and stuff but once you get more advanced you need More.

Textbooks are actually not a bad way to self-study. I used Genki in my first 2 years of Japanese at university and it's supposed to be one of the best. There's also so so many resources online now. Follow some blogs and get bite-sized tips during your leisure time.

Now, for how I like, Actually learned a lot of my Japanese before I started learning it in organized classes. Listen to music, look through the lyrics, pick out some words you hear a lot and look them up. Watch drama/anime/movies/etc and do the same. Or just put on the subs and don't really pay attention to the audio. I generally have a pretty good ear for pronunciation and intonation already but I attribute how often I get comments on my pronunciation to how much time I spent in my weeb days just hearing naturally-spoken Japanese even if I wasn't totally paying attention. I always recommend exposing yourself to as much content as possible, even in the early stages of learning.

I've got some general study tips on my blog (search studytips) that should help. If nothing else, remember to not burn yourself out. Learning vocab for 5 minutes a day is better than studying 2 hours one day ond taking a 2-month break.

One thing I might not have mentioned in those tips that I feel like more people need to be aware of: a lot of programs are like "learn naturally by immersion like you learned your native language! Just hear phrases and you will Understand the grammar eventually!" okay but like your brain goes through a critical period for language learning when you're like 2. You are (presumably) no longer 2. Your brain is not the same as it was when you were 2. You should not expect to learn the same way as you did then. I read somewhere that being able to learn rules is the one advantage the adult brain has over a child's brain when it comes to second language learninp. So what this means in practice is: when you come across some grammar thing you don't get, don't let people tell you "oh you'll get it in time, you'll just Know." Look that shit up! What's the difference between は wa and が ga? There a literal list of rules you can memorize! (I don't have a link, it was a handout from one of my classes, sorry!) Familiarizing yourself with English grammar even helps to learn how to apply those rules to a new language. Learn the difference between a subject and an object and all that good stuff. You have different resources now as a not-2-year-old so use them!!

Finally, some resources I personally use:

Kanji draw (app): https://play.google.com/store/apps/details?id=net.lusil.android.kanjidraw.jlpt5 (not sure if there's an IOS version sorry)--like flashcards for kanji but makes you actually write it, and with correct stroke order which I promise makes them easier to remember (and this was the only app I found that actually checks you for accurate writing). It has some algorithm for how often you see each character that is fantastic for memorization--more often when you first learn a character and after you get it wrong, less often once you know it well, introduces new characters gradually but keeps the old ones in rotation for a while so you never get thrown into a set of 20 completely new kanji.

find you a good dictionary app--I can't find the one I use on the app store but I can search in kana/kanji or romaji or English, any conjugation of a verb or adjective, and find what I'm looking for. Also has a kanji lookup tool with radicals.

Google translate--yeah, for real. I use this one when I want to scan a large section of text for something specific. Or when I'm writing a long sentence that I want to doublecheck. Also has a kanji lookup tool you can handwrite in, and of course don't forget the camera translation tool.

honyakustar (website)--a website with a lot of sentences in both Japanese and English. I use it All The Time to figure out how a word is actually used in practice--what particles it uses, if it's formal or informal, if it's stative or dynamic, collocations, etc.

Hellotalk (app)--it's super well known, just google it. A social app for chatting with native speakers of your target language.

Common Japanese Collocations by Kakuko Shoji (book)--collocations are words that "go" together naturally. We say "take" a bath, Japanese says "enter" a bath (お風呂に入る). This book is a good reference for looking up these collocations.

The Basics of Japanese Grammar: Verbs (book)--I downloaded this on my nook in high school for like 2 dollars and 50 cents give or take and it pleased my rule-oriented brain greatly. just has like all the verb conjugations with short explanations and example sentences and stuff.

Thanks for your question! Feel free to ask me anything!💕

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kaibutsushidousha · 5 years ago

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What do you mean by ridiculous names ? Is there puns or the name very unusual with fancy kanji/unusual readings for them ?

All of the above. Using older kanji makes sense since the story is set in Taishou, but most names are either unsubtle puns or relatively direct descriptors of the characters, like Gyokko meaning “jade vase”. Unusual readings don’t often all that often, but a great example is 不死川 being spelled as Shinazugawa instead of the more obvious Fujigawa (same kanji as Killer Killer’s Fujigawa btw).

Not only that, but there also a few examples of names that are straight up regular words with no twist to them whatsoever: Muzan (cruelty), Giyuu (heroism) and Agatsuma (my wife).

Kamado means “furnace gate”, because the Kamado family sells charcoal. It’s an outdated kanji for furnace (竃) to keep that Taishou flavor. Now, Tanjirou is a much more competent and interesting name, one of my favorites in the manga. Depending on whether you interpret its 治 as the 治 in 治す or the 治 in 退治, the meaning of his name could be either “healing son of charcoal” or “demon-slaying son of charcoal”, fitting perfectly with how Tanjirou’s goals involve both killing demons and getting a cure for his sister’s predicament. Not mention a lot of Heian mythology associating slaying oni with curing illness. And the charcoal part is because Tanjirou, of the Furnace family who sells charcoal, sells charcoal. By the did I mention Tanjirou sells charcoal? But anyways, there’s even another layer to this name and which it’s why it’s one of my favorites: it can be sort of a namefication of the verb 歎じる(tanjiru), which means to mourn, reflect Tanjirou’s main trait of sparing sympathy for pretty much every demon he kills.

Nezuko means “shrine bean girl”. Specifically Heian era shrines, so it’s maybe this kanji is too old even for the Taishou era (so old that a lot of people on the internet don’t know to type it or don’t bother the conversion takes too long). But it fits the character since Heian is when we got most of the oni related mythology this series is mostly about. The “bean girl” part is probably there only to sound cute.

Agatsuma, as mentioned earlier, means “my wife”. I already considered one of the funniest I’ve ever seen before I even started the manga and it only better after actually seeing Zen’itsu’s character. Zen’itsu has a cool double meaning like Tanjirou, with 逸 potentially being from 逸する or 逸物, so his name means either “goodness missed” or “goodness at its best”, which fits how Zen’itsu is normally an absolutely terrible person in every aspect but shows himself to be ultimately caring and competent when pushes come to the shove (even if through the power of stress napping most of the time).

Hashibira means “beak flattened”. A rare name I have no idea how it connects to the character. Inosuke’s kanji mean “helper of the elegant” but the intent is clearly a pun on inoshishi (boar). Besides, looking at the meaning feels like a moot point because everyone is “the elegant” compared to Inosuke.

Both Kanawo’s names are antiquated as heck, mainly there for the series Taishou era flavor. Tsuyuri is one of Japan’s most notoriously unusual ateji names (yeah, there are only 3 instances of the manga using real people names and one of them is the name known for being weird), with it’s kanji meaning “chestnut flower falling” and the kana means “rainy season starting”, because chestnut flowers fall in early May, signaling the start of the rainy season. Kanawo’s “birthday” is in May btw. Anyways, the name was probably chosen for her specifically because of flower kanji in the middle and her Breath of Flowers. Kanawo is a katakana name, so no proper meaning, but it overall feels very old because it’s a name that uses “wo” instead of “o”. Taishou flavor, as I mentioned.

I’m skipping Gen’ya to his brother’s section because their names are matching.

Ubuyashiki means “childbirth grounds”. Kagaya had 5 children so it checks. Besides, with their family curse, pretty much all the Ubuyashikis can do is give birth to the next generation as much as they can before they kick the bucket. Kagaya means “radiant!”. Yes, the exclamation mark is part of the name’s meaning. I’m sure it’s a name all pillar agree with.

Tomioka means “wealth hill” it’s a rare instance of a real people name in this series, so I assume it must a reference to some one, but I have no idea who. Giyuu, as already mentioned, is just the regular word for heroism. Military volunteers are actually called “giyuu soldiers” in Japanese even.

Similarly, Kochou is the regular word for butterfly (although not the most commonly used). Shinobu is a hiragana name, so no proper meaning (much like Kanae and Kanawo’s katakana names), but name Shinobu is normally written with 忍 (the shinobi kanji) or 偲 (remembering, but most often in the context of remembering a dead person). The latter has obvious meaning in Shinobu’s relationship with Kanae, but the former might also have an interesting meaning behind it. The shinobi kanji is made with the heart kanji under the blade kanji (insert Monogatari reference here), so a huge cliche in ninja-themed literature is the saying “a shinobi without a heart is just a blade” (surprisingly never mentioned once in Naruto, as far as I can remember). I believe this thematically connects to Shinobu’s central character trait of wanting to have Kanae’s kindness but not being able to bring herself to be that empathetic to demons. She tries to be Shinobu but can’t force herself to retain the heart she lost, so she ends up just being a blade.

Rengoku is the regular word for purgatory, as you probably know from it being also the name of his ninth kata. Kyoujurou means “congratulating son of apricorns”, with father Shinjurou being “congratulating son of yew plum pine” and his brother Senjurou being “congratulating son of thousand”. The pun here is probably with 享受(kyouju; happily accepting something) vs 信受 (shinju; accepting a fact, in a somewhat resignated way). Another possibility less related to the conflicted with his character is 教授(kyouju; professor) since he’s a mentor character.

Uzui means “roof marrow”, but real pun is with uzu uzu, the gitaigo for impatience, a character trait fitting for a character completely centered around rejecting shinobi philosophies. Also reflects how his very first sympathetic moment was him honestly admiting that his impatience to save his wives caused him to make a few bad moves. Tengen is the Japanese reading for Tianyuan, which is the heaven’s energy which composes everything according to some ancient Chinese traditions. You may have heard of it as the “celestial unknown” or the “heavenly element”. Don’t know what it has to do with Tengen’s character though.

Kanroji means “nectar temple” and Mitsuri means “honey lazuli”. The “temple” and “lazuli” part are kanji commonly used in names, so that’s a pretty much just thrown in there to make her name sound more like a name. The real keywords here nectar and honey, since those are two words that can be used as horny words in a very subtle way, but suddenly look a lot less subtle when they are about the Love Pillar.

Himejima means “scream island”, but specifically the sad, crying kind of scream, matching with how Himejima is pretty much always crying out of compassion for others. Also, archaic kanji for “island” because Taishou. Gyoumei means “carita afterlife”. Carita is an umbrella term for all forms of spiritual training in Buddhism. It includes a lot of things we see associated with him in the manga, like sitting under waterfalls, reciting chants, etc.

Tokitou means “time transparent”. Possibly a clever amnesia reference (in the sense of how his past time was invisible to him)? Muichirou means “first son of no”, in a ridiculous match with his twin Yuichirou (”first son of yes”). Yuichirou references that multiple times in his backstory, saying it’s supposed to mean “no worth” or “no point”, only to then say it’s supposed to mean “no limits” in the climax of the flashback.

Iguro means “elegant black”. It’s an obvious anagram on guroi (gorey). Now, Obanai is easily the most incomprehensible name in the series. It means “small banana inside”, which is nonsensical enough for me to know for sure there’s a hidden pun involved, but I can’t find it for the life of me. The closest I can get is a pun with the English word “overnight” (OBAaNAIto), but I still don’t know Iguro’s character enough to know what “overnight” has to do with him.

不死川 would mean “immortal river“ as Fujigawa, but due to ateji it be comes more like “river of not dying“. Like with Kanroji’s names, the river kanji is only there to make the name look more like a real name (note: it’s not working) and the “not dying“ part is what really matters. Sanemi is introduced showing off his chest covered in scars and having Kanroji commenting on how he’s got a new scar in his last mission, immediately conveying to the audience that he’s a dude that’s not dying despite injuring himself a lot. Now Sanemi is a much more complicated name because 実 has dozens of meanings and I had no way of knowing which one is supposed to apply to him until Gen’ya finally came into play. Looking at them as paired names, Sanemi means “more reality“ and Gen’ya means “more illusion“. Can’t say why Sanemi is supposed to represent truth or Gen’ya is supposed represent lies, though. Could be something about how Sanemi knows the truth about how he felt about his brother while was fed Sanemi’s lies in their reencounter, could be about how Sanemi is a true breath user while Gen’ya is a fraud who needs to rely on Breath of Gun or going Kirby on the demons to fight, who knows. On a semi-related note, all of their other siblings had generic unrelated names. I guess their parents didn’t think of going with “more half-truth“ or “more ommision“ names before dropping the naming pattern.

Kyougai means “echoing fanfare”. Two sound related words for the drum guy. Pretty basic.

Rui is a regular word for bad influence, fitting of how he forced others into his abusive family play. It’s written with the radical for thread, so I that’s one of the ones I find more clever than ridiculous.

Enmu, on the other hand, means “nightmare dream”. And if that wasn’t redundant enough, it’s also an anagram for nemu(sleep).

Kaigaku means “sly peaks”. The peaks part is common surname kanji, so only the “sly” part matters. Obvious traitor name, which must be why he was unnamed in Zen’itsu’s first flashback.

Nakime means “sounding woman”. Very self-explanatory, she’s a woman who plays a biwa.

Daki means “fallen princess”, which is already meaningful enough for her character, but more importantly, it sounds very close to Dakki, the Japanese for the Daji, a famous Chinese monster disguised as an imperial courtesan. Giyuutarou is a name used for courtesan assistants, as already explained in the manga itself. Daki’s human name Ume is plum.

Gyokko means “jade vase”, as I said in the intro paragraph. Competing hard with Nakime for the title of most to-the-poing name in the series.

Hantengu means “half tengu”, because his ability is to split in halves and the tengu is the youkai species he’s themed after. Kinda weird how all oni in Kimetsu are themed after classic Japanese monster but only Daki, Hantengu and Douma get to be named after the ones they represent, I wish that was done more often. Anyways, his emotion bodies all have the kanji for their respective emotion in their names.

Akaza has my favorite name in the series, which makes sense considering everything else about him is also great. His human name is Hakuji, meaning “lion-dog healer” (yes, same ji in Tanjirou, but “demon-slaying” can’t be considered as a possibility for him for obvious reasons). As explained during his backstory, he’s named after lion-dog statues often seen guarding temple entrances. He’s someone who is supposed to be there to protect others. The healer part of his name also fits with how his spent half of his human life nursing his loved ones. And then Muzan turned him into Akaza. Due to its outdated kanji, even Japanese fans find his name a bit hard to interpret, but Akaza is generally agreed to mean “castrated dog sitting on a pit”. Delightfully humialiating name with delicious irony. In the chapter “The Useless Lion-dog”, Muzan turns the lion-dog who failed to guard its two families into a castrated dog sitting on a pit. All his nobility was neutered and he was left sitting still in a pit as he has no home to guard. Before this becomes a full Akaza meta on how he’s a full anti-thesis of what Hakuji swore to be, let’s get back to talk about names. His wife Koyuki’s name mean “love snow”. The love part represents how she’s a love interest of Hakuji and the snow part reflects she always a snowflakes hairpin and how Akaza projects the image of a snowflake on the floor when he activates his compass ability.

Douma means “child exhausted”, fitting his childish nature, especially in how he’s portrayed as a child who still hasn’t developed empathy at the age of 20, and with how his backstory is all about him being exhausted by human emotions after listening to hours of worshippers narrating their own tragedies. But most importantly, he named after Doumahoushi aka Ashiya Douman, the mythological villain he’s themed after. I like how he’s the only oni themed after a human villain rather than an actual oni or youkai like all the rest, but he might be the one oni who understands humans the least.

Kokushibou means “black death pupils”. Pupils as in eye pupil, not students, of course. He has no students, but he sure has a lot of pupils. Also eyes are often used as symbol for envy, which is the main theme of his backstory. Lastly, his name is a pun on kokushibyou aka the black plague, the disease that killed the most people in the world, just like he’s the oni who killed the most people. The 3 Upper Moons all have pretty unironically good names, all things considered. His human family name means “successor country”, probably in reference to how his brother passed down his hinomaru (symbol of Japan, the country) earrings to his next generation all the way down to Tanjirou. His name Michikatsu means “rock winner”. The winner part is obvious but I don’t know the (outdated) rock kanji was picked. His brother is Yoriichi meaning “fated one”, which probably on feeds Kokushibou’s complex harder.

Lastly and most ridiculously, Muzan Kibutsuji. Kibutsuji means “demon dance road”. Yes, the oni kanji is right there on his name, same demon kanji as the demons everyone faces. And as mentioned in the opener, the name Muzan is literally just the regular word cruelty. I’m commenting stuff with a friend as I read and we semi-consistently refer to Muzan as Meanie Demonbroadway because that’s just how stupid his name is. I really love it. Thank you anon for this opportunity to talk about Meanie Demonbroadway in a public space.

#kimetsu no yaiba

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otogetranslations · 5 years ago

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Announcing of Dropping DIABOLIK LOVERS MORE;BLOOD

To sum things up:

Someone leaked the Diabolik Lovers Limited V Edition patch, posting it publicly despite all our warnings and requests. Thus we are following through with our original policy.

We’re stopping every projects related to Diabolik Lovers, including further support for Limited V Edition, and there won’t be a patch for More;Blood.

Collar x Malice Unlimited will still be released, but privately. After all, you guys will get the English version of it from Aksys for the switch next year!

I (the leader of otogetranslations) will still be helping other translators with their projects: Brothers Conflict, Hakuoki SSL. How the patch is gonna be distributed is up to their respective leaders (coquettishcat for Hakuoki SSL, and PassionandBrilliance for Brothers Conflict).

No more Black Wolves Saga. This project I (Reishiki) started by asking permission to use existing translation from orlandoblue @tumblr, Siberia (twitter.com/bakemeatz). The patch of Black Wolves Saga Bloody Nightmare is to be completed soon. But it’s no more.

Read on if you wanted to know what really happened:

As you all know, we released DIABOLIK LOVERS LIMITED V EDITION fan translation patch this August 16th, 2019 for homebrew enabled/hacked Playstation vita, and only for people that have proof or purchasing the game.

There are over 50 people who showed us the proof of purchasing the game and they received the patch for free. All we asked was for you to actually buy the game before you can play it with a hacked playstation vita.

Our 30-people team worked on the patch for 10 months. We only used outsource translation for 8/277 total scripts. Our in-house hacker did the romhacking process, our in-house proofreaders proofed the translation, our recruited translators worked on the translation. Everything was done by us and it’s our team effort. So we have the right to decide how we’re gonna distribute it.

However, on August 20th, 2019. Rojaaalice on reddit r/vitapiracy posted a thread, asking the patch to be given to them for free (without purchasing the game). A lot of people who frequent this subreddit accused us of being Gatekeepers, while all we’re doing is asking for proof of purchasing the game (not the patch, the patch is 100% free). Is buying the game you play wrong? Is asking for a proof of purchasing something you play gatekeeping, when we could have chosen to not share the patch at all in the first place?

I don’t think so.

But, this person, SilicaAndPina (https://twitter.com/SiliCart) is not happy with how we distribute our patch. He said that we should keep the vita hacking scene free, we can’t ask for people to buy anything to be able to get the PATCH that we worked on. He doesn’t play otome games in general, and he doesn’t even know what otome games is.

He started to trick me into giving the patch to him, by making a fake proof of purchase with a cloned gmail account. I noticed the proof was fake and didn’t give it to him. Then he got mad and sent this (WARNING: GORE IMAGE) to me. He stated that he will leak the patch eventually.

He attempted to acquire the patch once again with a different fake proof this time. I also noticed this and we trolled him by sending him a FAKE patch. We left the prologue in English and put ridiculous/crack fanfiction in other parts. He thought it was real and distributed it, declared he has won over us.

He thought he tricked us but no, we weren’t being tricked by his half-assed effort.

Today, August 22nd, there is someone from the DiaLover Fandom that received the real patch sent it over to him. I’m sorry to say that the patch would be leaked eventually, one way or another, because if someone really wants to leak it, they could buy the physical copy, take a photo with it and send it to us. Then they can sell the game to get the money back.

So, we lost.

But to the one that sent the patch to him, lost to the malice of this world, and not to him.

I had envisioned this would happen when I first started the project. So I’m not surprised. I had a small ray of hope this wouldn’t happen so soon, but I was wrong.

As we’ve stated before, we will cease every project translation related to DIABOLIK LOVERS.

No more patches of DIABOLIK LOVERS will be made from us, at least when I’m the leader of that project (as well as the leader of otogetranslations): Reishiki.

I’m proud to say our patch was enjoyed and praised by people that bought the game and received the patch.

I (Reishiki) will still be supporting other translators if they need it, but I won’t start any new project from now on (in which could be AMNESIA LATER/CROWD/WORLD, VARIABLE BARRICADE - these games I completed extracting the texts with our inhouse hacker’s help, and I planned to announce we would start one of these projects soon. But… I’m sorry to say that it’s no more. At least it won’t be made available to the public.)

Thank you everyone for your support.

These are our team members opinions:

JokerTrap-Ran: I think I just lost faith in the community as a whole again, coming back after 4 years. I hope you’re happy! This was really demoralising and I hope ya’ll had fun putting us down like that. I’m not one for drama and honestly I’d very much like to stay out of it considering the bad medicine bashing that happened on otome reddit about 3 years ago. I’ll continue releasing translations for blog’s followers but that’s it. I’m whimsical, and most of my followers know it. I pick things and I drop it all the same.

Khikari: For those who thinks that what we have committed is blasphemy and should be shut down for this, great, please take the time to learn Japanese yourself. Or learn to care about other people with emotions for once in you life. Demoralising people who were willing to work endless hours for free with just one condition sure is satisfying, isn’t it? It really hurt all of us. For those who genuinely cared and are saddened by this post, I am sorry and I wish the best for you all. I know that the few doesn’t represent all but this is a massive motivation killer, and I don’t need this drama in my life. From now on, private translations all the way! Also, Silica, attacking an idea is fine, but attacking people with malicious intent is stepping out of line. Enjoy being a rock specimen.

LoliChan195: I hope you are happy with what you have done! We only wanted to bring this out for people that had difficulties playing the game, and also help support Rejet by having more people buy their games. Its people like you that cause all these game companies to go bankrupt! (Also SiliCar, you sick fuck. Who sends pictures like that!? XD you’re probably just some edgy 12yr old XD Besides, who says WE WILL NOT FORGIVE XD what a dumbass! And is it that hard to search on google about the game? Why would we make it so it specifically needs to be the limited edition?!?! ) Seriously, the people who attacked us for putting the rule out are just as bad, like can’t you just wait and buy the game? Or even if u just pirate it, read online translations. Its not that hard!

Hermy: Nothing much to say, except, ya’ll could have totes pirated the game and played it along the translations available on the net. Welp, I hope you don’t dislike that idea too much because that’s what ya’ll gonna need to do if ya’ll wanna play the sequels.

PS: the MB translations available on the net are riddled with errors, but by all means have fun with them :)

Anon: Oh yes, silica? Perhaps you should just lead on with your true intentions next time instead of trying to honey your words and do some "re-con" for dots, yeah?

Marzi: I'm a bit numb to this situation at this point, but it is disheartening to know Silica was so intent on distributing our translations that he didn't stop even when we threatened to cease all translations. It wasn't like he was ever going to play the game - he just felt so personally offended by the fact that we were "gatekeeping" for some reason - which, in my opinion, is a bit of an immature reason to ruin a translation group. You can't argue that we're "unrightfully holding something when we don't have the intellectual rights," when you're bypassing all copyright laws as well in wanting to post it PUBLICALLY. But what's done is done - whoever manages to get a copy of this, I hope you enjoy it. Please know so much effort and passion went into these translations, and that we loved working on this project every bit of the way. If the game leaves you antsy for More Blood well LOL you know who prevented that from happening.

Sonic-nancy-fan: I never knew someone could have such an illogical mindset. Silica/PSSDude made the original base repatch program, and we used one that someone had edited and added to (which Silica was fine with). But, because he made the original one, that means he feels like HE can getekeep all uses of variations of it. This would be like saying people can’t use paper to make a paper airplane because the original creator of paper said no, or you can’t print manga because Gutenberg said no. Also, who in the world thinks they can take a moral high-ground by telling us to promote piracy? Patches are already a sort of grey area, so we were trying to take the most legal method available while still making a patch. I know in modern society, piracy is very common, but I can’t imagine your average person would call us in the wrong for trying to hinder piracy. God forbid we try to get people to buy Diabolik Lovers. I can’t say I’m shocked as I expected it to get leaked sometime. I’m just saddened at certain people’s general hate and unyielding desire to leak it. So, I don’t blame the community as a whole, nor do I feel any malice toward the community (we had a lot of people buy the game and get excited). I’m just mad at very specific spiteful people. Also, if I ever hear someone say “the scene” as much as Silica, I’m going to go nuts. It sounds like something the “cool guy” in an 80’s show would say.

#diabolik lovers #otogetranslations #announcement

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fantranslatorbychoice · 4 years ago

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Oh glob, what have I gotten myself into? Just some long updates lol XD

Well, the year’s almost over, and it’s already the second half. The first half was too much and to be honest, I had to swim with the circumstances I am in right now so I had to put this passion non-profit project on hold, like seriously. But I did started translating the first few pages as early as December last year, as my very nice benefactor actually sent me the rest of the entire set of the Kakuriyo no Yadomeshi series after sending off the first 4 volumes. Probably read the entire thing first. But hey, free stuff is free so why complain. Plus my benefactor actually got the entire set for a steal, won’t say how much but in Amazon Japan, the last time I checked the whole set is roughly around $150 or a bit around that. and that’s just the first 7 volumes. Probably there’s an entire set now that’s about $200, as the final volume was released around August 2019.

Spoiler alert: the entire light novel series is made up of 10 volumes, so if you read it, the afterword by Yuuma-sensei specifically says that volume 10 is the final one, and Yuuma-sensei feels sad about it.

Yeah I highlighted that part in red, just in case many Kakuriyo fans still have some extreme hunger pangs or are unsure whether the novel series has ended. Here you go, straight from the horse’s mouth. Yuuma-sensei also has another Ayakashi light novel series, 浅草鬼嫁日記, roughly-translated to “Asakusa Wife from Hell Diaries”. Seems fun, they’re literally ogres - Oni living in the real world, like a reverse Kakuriyo thing. Who knows, maybe someday I can score that series too lol. The writer really likes Ayakashi, if it’s not that obvious yet 草草草草 yeah I write kusa lol oml I should stop... But returning to the Kakuriyo series.. I won’t spoil what happened lol but I will probably make a commentary on that once I get the translations up and running.

Which leads me to my next announcement:

I PLAN TO UPLOAD THE DIRECT TRANSLATIONS OF JUST THE INTERMISSIONS/INTERLUDES ( 幕間 ) AND THE AFTERWORDS (あとがき) OF EACH VOLUME.

Chapter 5 is the only complete and full English Translation that I will be uploading here, and the rest will be summarized versions of the chapters plus my translation notes and commentaries.

Bummer, right?

Well, to be honest, after starting my initial translations I ran into several issues which made me feel sucker-punched and added to the stuff I’m worried about:

Issues regarding plagiarism (either my stuff getting plagiarized or potentially being accused of it)

Translating everything actually takes too long, even for me (I’ll explain that later)

More serious issues like possible DMCA-ish complaints (won’t want my hardwork just getting flagged and killed)

Personal stuff piling up and affecting my momentum

To be honest, when I received the books, I was so excited to work with them and upload as much as I can. But lots of things happened one after another, plus the worldwide issue that we have right now, so doing fun stuff wasn’t at the front of my priorities. So at the moment, I am mostly offline, by necessity, like connection is slower and with data cap, so I mostly do my translations with whatever hardcopies of dictionaries that I have on hand, offline. It’s good and all since I can put my skills to the test, but it can be expected that not all of the words are available in the books so I still have to hook on Jisho just to find the missing words I need. So my stuff pretty much looks like this:

I could just take pictures of these and upload them here but the maximum number of pics that tumblr allows is 15, and good glob I have more than 15 pages of translated material. Plus, as you can see above, some parts are untranslated and I had to find them in Jisho once I get online, so right now I have about 50% word-processed with the raw parts cooked, and I only have 12 raw pages remaining to be cooked and hashed lol

Which leads me to my next issues: my slowness (yeah I have to surrender on my slowness) and my fears regarding plagiarism.

I actually only started doing these translations in full blast around 2 months ago, and eventually I had to slow down so I won’t get bogged down since I also do other stuff. But I found out that ploughing through it can get quite draining. I started thinking that fan-subbing and scanlating were easier because aside from working digitally, these were also mostly done in teams so work time gets cut. Well, those were the days lol But for this one, aside from flying solo, I had to use all of my offline resources a lot, like doing everything by hand. It finally broke me about half-way and I had to step away from it, like reaaaaally step away from it. I thought I could finish 50+ pages in a span of a week. Well, I wasn’t exactly wrong there, but I also had other stuff to do, and if I just read it like I would any book without having to do anything, it’s a done deal. But having to translate stuff was draining, I felt frustrated so it broke me. I have to write each page by hand, leave out the words I can’t find or don’t know, and move on to the next page until my body stops working. Rinse and repeat until I could finish about 10 pages and get on with the typesetting and completing the missing parts. That takes a while so I just do my best to be patient.

Then the thoughts of plagiarism popped in and out, like I started thinking how to ensure that my stuff doesn’t get stolen and reposted elsewhere, or worse, getting my site shut down because fan translations are ambiguously illegal, like fansubs and scanlations, and I think those were what got me the most, so I just gave up midway. I’d say ambiguously illegal because if a series or title wasn’t licensed elsewhere then translating it is a fair game. But if it’s already released as a translated version by publishers, then releasing a translated version is like labelled as stealing, even if it’s non-profit. Of course profiteering is the worst, some steal what others work hard for, that they did for free, and sell them off. Scumbags to the bone smh I do my best to be within the fair use thing since I understand how much effort is made in creating content, so at present I have just decided to just put up the intermissions and the afterwords because aside from these being only a few pages long, it’s less likely to get whacked. Plus it’s easier for my psyche to just sum up each chapter and add some comments on it so it won’t be taken down, plus I wont’ be too-attached so even if some nutjobs repost it elsewhere because some people are just unempathetic like that, at least I won’t be as resentful. Plus the afterwords are just so cute, Yuuma-sensei gives off an adorable and relatable vibe, so I feel like aside from just showing off her stories, I think she needs to get signal-boosted too, so people would have an idea on who wrote this hunger-inducing light novel series lol. I only started to pick up the whole thing again about a week ago, and I still wasn’t fast but at least I got to add at least 20 more pages translated, plus I started to type the first pages and add the missing words so at the very least, I felt some sort of achievement. It gave me some hope, and to be honest I have been doing this to maintain my sanity even for just a bit, so I guess I will do my best to bring Yuuma-sensei’s work out into the world. It’s a really good series, and it got animated into 2 seasons, plus the manga’s out, so that says a lot on how the series caught on. It can’t be denied that it’s a really engrossing series, so I don’t see any reason why this really good series should remain hidden. It probably has a lot of fans but aren’t being too attached into it because of language barriers, and even in my own way, I would like to bridge that gap. I mean, I may have slow internet that can only open mails in basic html but hey, this is the least I could do for the fandom. It’s not like I spew out doujin stuff or anything lol

OK, so summing up this long-ass update:

Chapter 5 - The Mysterious Capital Youto** - coming soon

Will just translate the intermissions and afterwords into English

English summaries of the chapters plus commentaries will be uploaded

Please don’t expect any fast uploads lol it’s not like I do ctrl+A into Google translate and slap it in here. Nothing against doing that but.. uhm, sometimes AI don’t get the nuances translated, and a lot gets lost in translation, so at best, anything done by some trash enthusiast, even noobs can still have some oomph in it that soulless beings can’t even top off. But hey, that’s just my opinion lol

So yeah, there you have it, a long update. Oh, and I changed the name of this blog because I have other raw stuff that I may be able to put here without any fear of being taken down because they’re in the public domain, so they’re all fair game since I don’t get any profit from them anyway and others may also appreciate them too. Hint: One is a series of Japanese classic fantasy short stories, the other one is a set of instructional manuals on how to write kana and kanji in ballpen and brushpens. They’re a bit lighter so once I get Chapter 5 up I’ll do them as soon as I get rested.

See you all later and thank you for stumbling in this blog. xoxoxo

#personal stuff #blog update #kakuriyo no yadomeshi #kakuriyo no yadomeshi spoilers #yuuma midori

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putschki1969 · 5 years ago

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Wakana SPICE Interview TRANSLATION

Source: https://spice.eplus.jp/articles/261442

Notes: Finally, here’s my translation of Wakana’s SPICE interview. This took forever. *sobs* But it was worth it. It’s a really nice and candid interview, I adore it. Wakana is so precious talking about love and I really like how she is so honest about her struggles when it comes to meeting the expectations of fans. Takeshi Kato is a great interviewer and it’s obvious that both Wakana as well as Hikaru feel very comfortable wiith him. Please keep in mind that my Japanese is by no means perfect, neither is my English. I still tried my best though. Credit me if you use this translation or parts of it elsewhere!!

Wakana talks about Love ~ Enclosed in her first EP is「her real self which she wants to convey」

Wakana has released her first EP 「Aki no Sakura EP」 on November 20. This work is all about showcasing her clear singing voice which has been dubbed “Botanical Voice” as well as depicting a more familiar and real sense of femininity. Wakana is in the midst of preparing for her 『Wakana Winter Special Live 2019 ～Matataki～』which will take place in Osaka and Tokyo starting from December 8. She has taken the time to sit down with me and talk about “LOVE” and all the secret stories behind this release.

―― Today I would like to hear everything you have got to say about your release「Aki no Sakura EP」. Does it feel like you have been very busy with work lately?

Yes! All I have been doing is make music, in fact, I am working on something new as we speak. I would like to go into more detail ... but all I can say is that it’s amazing *laughs*. So yeah, I will be busy working until the end of the year..

―― Your title song is promoted as “Autumn Sakura Song” where one is thinking about a love that started in the cherry blossom season while strolling around in autumn surrounded by fallen leaves. I think this is a very rare approach. How did you come up with this motif?

When I first got to choose this song I thought that the recurring melody of the 「咲いて咲いて咲い | saite saite saite | blooming blooming blooming」 part was very catchy, it’s something that stays with you, something you won’t easily forget. This song already came with lyrics and I didn’t change anything about this particular section - 「秋の桜がもう咲いて咲いて咲いて | aki no sakura ga mou saite saite saite | the Autumn cherry blossoms are already blooming」. The title was also “Aki no Sakura” from the get-go but the world-view presented in the song was quite different in the beginning so I put some finishing touches to the lyrics in order to create a more real atmosphere that would suit me better.

―― I see, you added bits of your own world-view to it?.

Yes, I was actually talking about this yesterday but the song description “thinking about a love that started in the cherry blossom season while strolling around in autumn surrounded by fallen leaves” kinda suggests that it was a short love that only lasted a few months, doesn’t it? But I will tell you something, that’s not really the case *laughs*.

――It really does sound like that though *laughs*..

If you read the lyrics carefully, there is a section that says, 「落ち葉を鳴らして笑いあったね | ochiba wo narashite warai atta ne | Among the rustling of the fallen leaves we shared laughter」which implies that those two lovers spent at least one autumn together already, so they have been together for more than a year!

―― They started dating in Spring but their love didn’t end in Autumn.

Yes Yes Yes! Just yesterday I was recording a comment all by myself and I caught myself saying, “it’s about a love that started in Spring and ended in Autumn”. I immediately backpedaled and scolded myself because that’s absolutely not what the song is about. I really had to think hard about how to put it into words *laughs*.

――People tend to interpret it as a brief summer love, I guess.

When you listen to Aki no Sakura, I think there are many people who immediately think of a contained space where just Autumn Cherry Blossom exist. But I want people to listen closely to the lyrics of the song to get to the truth. I personally believe that the lyrical main character of the song has held their loved one dear to their heart for a very long time. When you see dead leaves flying in the Autumn wind people might be reminded of the cherry blossom season, you are just looking at the scenery and all of a sudden that certain Spring comes to mind and everything else that’s buried within your heart. I think this song is not so much about remembering a specific time or moment, it’s more about a very memorable person and all the associations you have with them.

―― I personally didn’t see it as a summer fling, I thought it was about a moment or situation that reminds you of a love from a long time ago.

There is definitely a sense of suddenly being overcome with memories, I think many people will see it like that as well.

―― Memories... they do have a habit of hitting us all of a sudden. And to our surrounding it all seems so insignificant. That comes across well in the chorus. In that sense, I think it is quite the sad song. For me it was very refreshing to hear you sing a song like that - a song about someone who is so clearly recalling a past love.

It certainly was refreshing. As we established earlier, the memories of our main character are being triggered by autumn leaves and cherry blossoms but really, it can be anything that triggers your memories, in my case I associate most things with certain odors and scents. And of course music! Listening to a song that I used to listen to a lot back in the days will bring back all sorts of memories for me. Truly, all these triggers appear in real life.

―― Naturally music is a big trigger for you.

Yes, it’s music. When I listen to “Top of the World” by The Carpenters for example, I am immediately thrown back to my junior high school days. It used to be broadcast on campus in the morning time. On my way to school it would gradually get louder until I reached the school gates where the teachers would stand to greet us. Listening to it reminds me of my mornings in junior high school.

―― Now what about the other songs on the EP, "Koi wa Itsumo" and "Orange"? “Orange” was written by you, right? Earlier we talked about your worries regarding the impressions and world-views of the title song, how about the other songs? It seems like each song has a very different impression? There is lots of variety.

That also applies to the first song “eve”, I really wanted to have lots of different atmospheres in this EP, different from anything I had ever done before. “Koi wa Itsumo” is probably where I outdid myself *laughs*. I want you to not believe your ears when you hear it. I personally think the lyrics are very clear-cut. There is a sense of cuteness and embarrassment, I thought a lot about how to sing those lyrics. Eventually I settled on trying to sing them in a happy manner. I wanted to create a pure and honest atmosphere so I tried to convey a thrilling sense of excitement with my voice.

――You are singing words you have never sung before such as 「独り占めしたいんです | hitori jime shitaindesu | I would like to have you all to myself」or 「困らせたい | komara setai | I want to bother you」.

That’s right. But this is actually all me. I am that sort of person. It's embarrassing to admit but I wanted to have these parts included in the song. One by one I want to tackle things that people don’t expect of me, I would like to break away from images like, “oh, that doesn’t feel like Wakana” or “this doesn’t sound like Wakana”. First and foremost I wanted to increase the number of songs that could be enjoyed by everyone so this is why I dared to take it a step further and hit the gas pedal hard.

―― Now please tell us about “Orange”.

"Orange" already came with lyrics. But it was quite difficult to make it into something of my own based on the images that were being conveyed... I have a few friends around the same age as me who I meet regularly about once a month. Recently, we often end up talking about all the hardships, worries and rewarding aspects of work.

―― Yes, in your age group responsibilities certainly increase.

I personally often felt like I couldn’t really relate to many of the thoughts, troubles and feelings everyone else experienced. All of them are very self-assured, everything about them feels real. I wanted to try and put that into words because I respect that and find it very interesting.

―― Well, I guess since you are an artist your work and life-style are quite different from that of others with normal 9-to-5 jobs.

Actually, all of them are working in the industry, they are video creators, photographers, directors and such...One thing they all have in common though, they had something they wanted to do when they were young but for whatever reason it never happened, their dream never became reality. I listened to all their stories and this sense of regret is shared by everyone. And yet, they all power through, they are still living their lives, working hard, doing their best. That is why I wanted to write lyrics dedicated to the people like that - who work so very hard every day even though they are not living their dreams. But I didn’t want to make a big deal out of it, I guess it’s just meant as encouragement or something.

―― By which you mean what exactly?.

Well, at the end of every day you are still the same you and nothing else, no matter how often you go to sleep and wake up again, yesterday’s mistakes and failures will not go away, today’s amount of work won’t change even if you sleep for an entire day, looking at yourself in the mirror, don’t you always see someone who is tired of getting up every morning? It’s all these things I wanted to convey in my song but without making it too sad.

―― I see.

That’s why the “anata/you” that appears in the final part of “Orange” is supposed to be oneself. You are reborn every day when you go to bed and wake up again. There were times when all you did was being motionless among the waves and scream. If possible you want to return to that moment to embrace yourself in order to provide comfort. But now all of that is in the past, it’s overcome, there is joy to be found at work, I see it when I watch my friends, they all seem to love their job.「あなたの笑顔に会いたい | anata no eigao ni aitai | I want to meet your smile」is about getting up in the morning and seeing your smiling face in the mirror. It's a song that’s meant to make you smile, it shouldn’t make you sad.

―― Now your fifth song “Yuuyake”, you recorded it all in one go, right?

I went into the recording booth together with Ikekubo-san, the guitarist. we did a few takes and eventually decided we would make it slower than it was originally intended. I discussed this with Minnie P., the composer of the song, I told her I wanted to do it a little more slowly. I felt like my voice came out best at a slower tempo, Ikekubo-san and I gave it a few tries before we finally figured out the perfect tempo, it was a lot of fun.

―― I have noticed this before, especially in your live performances, there is a strong sense of realness, everything seems very natural and raw. I thought it was very interesting to see this sort of approach from you.

Well, there is an already existing world-view when it comes to Kalafina, I treasure that a lot, it is very important to me, I do not plan to ever destroy it but right now I am trying to discover new things for myself, I am pursuing the potential of my voice and I think that’s very important.

―― Based on what you just said I think people will want to listen to your songs. But the main theme for two of your songs, “Koi wa Itsumo” and “Aki no Sakura”, is undoubtedly love, right?

Yes, that’s right.

―― I think compared to your Kalafina days the number of life-sized casual songs has increased immensely ever since you became a solo-artist. What exactly does “love” mean to you? I would like to talk about that a little bit.

Well, I think love is “selfishness”. When you fall in love, one is usually hiding in the shadows, thinking “oh, he is so cool and good-looking!” “I wish he would notice me!” or “Oh, I want us to hold hands!!” *laughs*. Or when you are going to a live of your favourite artist, hoping, “please look at me, please smile at me!” All of that is selfishness...you have a lot of demands when you love someone.

――Yes, there is certainly some truth in that. Please smile at me!!! *laughs*

However, love is also about understanding each other and finding a compromise. Compromise is about indulging someone to please them even though you feel like doing something entirely different.

―― You mentioned that this time the lyrics very much represent your own thoughts and parts of yourself? So what about Wakana's love life? I am not asking about who you are going out with but I would like to know about your philosophy of love.

I wonder if I can even talk about it, I have never done it before. It's very embarrassing *laughs*.

―― Now is a good time to start! *laughs*

Well, I guess I can manage to talk about love to the same extent that I have written about it in my lyrics *laughs*. What I told you before is my personal opinion. Perhaps there are people who only think about love and affection when they fall in love. But in my case, when I fall for someone, I feel a strong sense of greed, I want the person I like to notice me, to turn around and look at me, to pay attention to me.

―― That’s quite understandable.

But even if our feelings turn to true love, even if we love each other very much, there will still be greed within me. I think love should be regarded and treated the same way as a relationship with your good friend. But as a lover I can’t help it, I am apt to become selfish. For example, I end up telling my lover things I would never say to a friend. There are certain things I would never say to my friends because I don’t want my friends to dislike me. I guess when it comes to love, I just stop faking it. Typically I read the air and act accordingly but with my partner I don’t read the air at all.

―― Can you give me an example? The things your friends might not tolerate ...?

Sorry. Well...Imagine your friends want to go and eat Yakitori today, I would never say "meh..I don’t wanna eat Yakitori today”.... Instead I would say, “YAY, let’s go and eat Yakitori!” *laughs*. Maybe I would give it a try and silently suggest, “anyone feel like Yakiniku instead?"

―― So you fight back a little.

I fight back a tiny bit. But it still ends up with “let’s go have Yakitori!!” *laughs*

―― And how is it with your partner?.

"No, don’t you want Yakiniku? We will go have Yakiniku!" *laughs* I will just send the restaurant information and be done with it. I kinda like to get into little competitive fights about stuff like that. “This place is better” “No, the other place has way better chicken!”

―― What kind of man do you find appealing?

I sometimes think about this question but it’s very difficult for me to find an answer. I have favourite actors of course but I only know their TV persona. When it comes to my favourite artists it’s pretty much the same, all I am aware of is their singing voice and stage presence.... But I want to get to know all the personal aspects of that person's life, I want to meet the real human being behind the facade, I want to explore all of that. I wonder if by doing that you gradually fall in love. Well, anyways, I'd like someone in whose presence I can just be myself. Of course I would tolerate and accept everything about him. But in turn I want him to accept everything about me, all my faults and everything ...Ahh, I'm terribly selfish, let’s stop here *laughs*.

―― You want to show your true self to the person you love.

I agree. When I was younger I spent a lot of time putting on a facade but these days I just wanna be myself, if I have a shitty day I wanna be able to say that I have a shitty day, I don’t want to have to pretend that I am doing fine.

―― Somehow I feel like there is so much realness and humanity in this interview and your new songs.

I'm glad to hear that!

―― I am also curious about your singing style. As a member of Kalafina you were in charge of the soprano parts but now as a solo artist you are pretty much singing all parts, right? I feel like the quality of your voice has changed a bit. Is it because you are trying to find a singing style that’s suitable for you as a solo singer?

Yes, that's right.

―― I always wondered whether you did it on purpose by training or whether it happened naturally.

My previously released album 『Wakana』 was my first proper release as a solo artist, I decided to use the title “Wakana” because for me that album was sort of like my business card, a proper representation of myself so to speak. But truth is, I wanna go through various changes in the future. This year, I got so many opportunities to express myself in various songs and I held lots of live performances.

―― I feel like you have put a lot of thought into being more expressive at your live performances..

Yeah, when I go back and watch all of my live recordings I think it’s crazy how much my singing has changed. I have opened this door of change intentionally, those changes will always correlate with whatever music I am currently creating. I want everyone to look forward to further changes.

―― So there is really a lot of purpose and intention behind your actions.

Yes, I just wanted to convey something more real, I wanted to show everyone the real me. I think what my audience is looking for is probably some sort of insight, a deeper understanding of who I am. I think it would be very rude if I didn’t meet those expectations. Speaking of changes, in my song “Orange” I used a lot of heavy breaths while singing it, initially I was very reluctant to sing it that way but I thought I would give it a try.

―― Why exactly were you reluctant?

Because I was never really required to sing like that. However, once I had realised that I could probably do it, my desire to give it a try became stronger.

―― Right now Takebe-san is your live producer but I feel like you would like to try and produce your lives yourself eventually, do you have the wish to do these things?

I do!

―― I think you are currently working on creating more freedom for yourself so you can do the things you want.

That's right. I want to create a wider scope of action for me. But I think one has to be careful when doing such a thing, after all, I do not want to betray my fans. It was never my intention to disappoint all the people who have certain expectations of me so I tried my best to respond to their wishes. But I am still uncertain how to best meet those expectations and at the same time I don’t want to neglect the things I personally want to do...it’s very difficult and I am constantly thinking about how to do things, how to find a balance. I feel like it will always be like that....

―― I guess that’s something all artists struggle with?

Yes, I think that many popular artists deal with these sorts of anxieties. If a fan listens to a good song of an artist they will immediately have a certain expectation and look forward to the next song. Since I am a singer myself I sometimes struggle listening to the music of other artists because there is a sense of envy. Of course there are also people who may not be able to listen to a new song by their favourite artist right away. The shock would be too great. It will just be "WOW, that's amazing!!!"

―― That you are thinking this way is proof that you are an artist.

I guess. Right now I am a huge fan of Official HIGE DANdism! When I realised I was hooked, I listened to all of their albums. I am currently in a state where I would be totally shocked and blown away if a new song came out. I would be all over it, “aaaahhh, it’s so amazing!!”

―― So this does happen to you sometimes too, even if the genre is different?

Especially if the genre is different, I think it’s easier for me that way. This way I learn to appreciate and be grateful for the listeners’ expectations. Even if I am in a state of shock, I am trying to listen to the song properly. I am learning a lot this way.

―― By the way, you will be holding a one-man live on December 8 @Umeda Club Quattro (Osaka) and on December 10 @My Navi BLITZ Akasaka (Tokyo).

That's right. I have never held a proper live twice a day with a day and evening performance. It’s very intriguing. I am quite excited and a little nervous.

―― All the worries that come with deciding on the setlist and such?

Yes. I decided to name my live “Matataki | Blink”, I chose this title because I want us all to enjoy this special moment together. Those moments in time, those worldviews which are presented in my releases and lives are completely different so I want everyone to enjoy those blinks of time individually. Rather than focusing on expressing the worldviews of my EP, I want to find an expression that’s unique to a live and that can be enjoyed by everyone. I think it’s a different way of enjoyment.

―― Live performances are not about creating a perfect reproduction of the studio version, it’s about pursuing the unique and fun aspects of a live.

Yes, I see it that way. I want to hold a live that everyone can enjoy, where people can find happiness. I really want to treasure this live, after all, it’s almost been half a year since my last proper concert.

―― I am very curious how you will present yourself. I'm really looking forward to it.

It’s said that the twinkling of stars, the light we see right now when we look up is actually millions of years old. I am a romantic at heart so things like that mean a lot to me. Even if the brightness is not visible right now, surely one day it will shine among all the stars. This moment right now. Having said all of this, I hope you enjoy this EP.

―― Now let’s talk about next year. Since this is probably our last time talking this year. What kind of year is 2020 going to be for you?

Next year in 2020 we will have the Tokyo Olympics so I think it will be a very lively year. I want to create memorable music without being rushed, I wanna take my time and of course I want to always keep my listeners in mind. My personal challenge will be to balance selfishness and love. However, instead of demanding the other party to just listen because I took up this challenge, I would like to take the other party’s feelings into account.❇ Staying true to myself I want to face all the struggles that come with making music, I want to create new songs with care. I also want to continue doing lives.

Interview: Takeshi Kato; Photo: Saori Shikiji

❇) The interview is quite ambiguous when it comes to Wakana and the topic of love. It kinda sounds like she could currently have a partner but in this case she could also be referring to the love and selfishness among artists and fans...

#kalafina #wakana #my translations #spice interview #aki no sakura #long text post #wakana is so precious talking about love

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