#like-- that was my main reason of wanting the romaji lyrics in the first place. but then in hindsight-- and well-- in many moments
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Sorry I'm not your God (ç„æ§ăăăȘăăŠăăăă) Romaji Lyrics
Nee,
Kimi kara mite boku no kao wa
Nani iro ni mieteru no kana
HontĆ wa kimi ga egaku yĆna
Sunda iro nanka janainda
Monogatari no shujinkĆ mitaina
Seigi no hÄ«rĆ no yĆna
Kodo to kotoba o nazotta
Sono kekka ga ima no bokudatta dakenanda
ShinzĆ ni tenteki o sasu yĆna utade
Asa o ikinobite wa
Yoru no omosa ni kubi o shimerare nagara
Iki mo tamerare yashinai
Nigiri tsudzuketeita shinzĆ mo
Dareka no bunda to shitteshimatta
Sono kuse dareka o sukuitakatta
Sore ga hontĆ no boku nanda
Aa,
ShĆdoteki na aide sukuwaretakunai yo
Nante mie o hatte itteshimatta
Kakkoyokunakute gomen ne
Aa,
Sekai yori kimi o erabutte
Minna ni ichatta
Kono ude wa ni hon shikanai no ni sa
Kamisama janakute gomen ne
Aa,
Furimaita nasake ga
Kiba ni natte osĆtekichatta
Kitto subete yuruseru to omotta
Tsuyokunakutte gomen ne
Aa,
Tsunaideta te o hanashite
Kimi o oite ichatta
Kimi o mamoru tame no hazudattanda
Kamisama janakute gomen ne
Kitto boku wa yasashii hito
Demo kimi wa boku yori yasashii hito
Yasashii hito bakari kizutsuiteiku
Kono dĆshiyĆ mo nai sekai de sa
Kitto boku wa orokana hito
Demo kimi mo onnaji orokana hito
Dakara wakattekureru to omotta
Sore o negatteshimattanda
Aa,
Kitto boku wa yasashii hito
Demo kimi ga boku yori yasashii hito
DĆka kimi dake wa boku mitaini sa
Hikari o miushinatte shimawanaide
Kitto boku wa orokana hito
Demo kimi mo onnaji orokana hito
Dakara kimi ga nami o omĆka wakaru yo
Konna ketsumatsu jaiyada yo ne
Aa,
Tsuranuita shisĆ ga
Dareka no kokoro o koroshichatta
Sore dake ga tadashii to omotta
Kirai ni narenakute gomen ne
Aa,
Itsu no hi ka nageta kotoba ga
Zenbu kaettekichatta
Kono ondo wa tashika ni aru no ni sa
Kamisama janakute gomen ne
Aa,
Sayonara o shinai tameni
KĆsuru shika nakattanda
Kimi no me ni tayoritaku natteshimatta
RisĆ ni narenakute gomen ne
Aa,
Zen jinrui o aisu nante koto wa
Dekinakatta yo
Dakara dĆka boku o urandekure
Kamisama janakute gomen ne
#aria rants#yaknow while getting the romaji readings of this songs lyrics i realized that i actually wont be able to sing along with it#like-- that was my main reason of wanting the romaji lyrics in the first place. but then in hindsight-- and well-- in many moments#considering how much i looped this song-- i actually wont be able to cuz of how fast paced this song is that id end up tongue tied#but i did it anyway and it actually did help with my japanese language reading needs in that i know what Some kanji readings are!#the meanings tho? ...nnnoo... look im just happy i even managed to do smth like this when i cant read kanji at all but smth possessed#me today to just Do It! for this song just so i can get its romaji lyrics when i couldnt find any of it online so i made it myself#i dont even know if i did the word spacing correctly here. i relied on like-- two sites and my own hearing which is ngl... not reliable#one site is google translate so ya can alrdy tell from that and another site is called nihongodera which helped A LOT! for me#when getting the romaji readings cuz it has an analyzer tool so i can see each kanji's various readings then id confirm which one#through what the song says and its honestly a process id normally not be able to go through at all but ig i just rlly loved this song#that i managed to do it anyway! honestly this entire thing is literally a post By Me For Me at this point like who else wanted this?#no one! but me! so here it is! and im posting it anyway cuz i dont want it lost in my drafts and to make sure it doesnt get buried at all#fave
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[Behind-the-Scenes] HELIOS Rising Heroes: Animation Showcase
âHELIOS Rising Heroes: Animation Showcaseâ is an English voice fan project I worked on all by myself (barring voice actors) that took five months to make.
The original plan was to make just one video, but it ended up being eighteen of them!
Link to YouTube playlist:
https://www.youtube.com/playlist?list=PL0UbdFyWSx0n_ewcd-t0iAB0adGe5lghH
In this write-up, Iâll be discussing details about the response to the project, recording all the footage, video editing, voice acting + audio processing, script translations + rewriting, which fonts were used, and even the emulator used. Iâve organized it into sections to make it easier to find certain things. Also, this is directed to English-speaking readers since Iâm not gonna bother translating the entire thing to Japanese.
THE DREAM
I wanted to make this fandub ever since the game was released (in Aug 2020). I just knew that English voices would be extremely fitting to the world of HELIOS with a setting inspired by America and characters, places, and terms mostly in English. I was disappointed to hear that the studio behind the game, Cacalia Studio of Happy Elements K.K., had no interest to localize their games outside of Asia, which meant the chances of an English dub, let alone a global release were close to zero.
I was able to understand how to play the game thanks to the fan translators, some of which came from other Cacalia Studio games, and got inspired to continue learning Japanese (there was a previous attempt to translate Japanese lyrics years back).
What I thought was just the silly dream of one overseas playerâs became something much more!
THE TIMELINE (BRIEF OVERVIEW)
I played the game for about two months prior to working on the project. Before starting the project, I had to sort out graphical and technical issues on my end first as I was unable to play the game smoothly until November.
November 2020
Finding all the in-game battle lines
Writing transliterations (romaji) of lines by ear
Learning and translating lines to Japanese
Started recording footage
December 2020
Further translation revisions
Held a casting call
Script rewriting and finalizing
January 2021
Completed casting
Started video editing (learning process)
Started audio processing
Recorded more footage
February 2021
Recorded more footage
Japanese script revisions
Finished working with VAs
Finished audio processing
Continued video editing
Published Preview video
March 2021
Recorded the last of the footage
Japanese subtitle revisions
Finished Showcase video
Finished Individual battle clips
Gave recommendations to VAs
The exact start and end dates were Nov 1st, 2020 to March 31st, 2021. Pretty neat.
RESPONSE TO THE PROJECT
I was absolutely shocked with the response to the preview video, which at the time of writing has just hit 10K views and almost 600 likes on Twitter and YouTube combined. Not bad for an unpaid hobby fandub (a joke only I find funny...) of an otherwise ânicheâ Japanese-only mobile game.
As of Apr 4th, 2021 - Thank you so much. This is more than I couldâve asked for.
The preview video blew up way more than anticipated, setting up for a bit of disappointment when the Showcase video was released.
The amount of views I expected for this project within its prime were a couple hundred views, so Iâm content that the Showcase video reached that amount (it had ~500 by the end of March).
The expectations for the battle clips were an average of 100 views and a handful of likes - and each one got roughly that amount (or more) - so Iâm also content with that, especially for something thatâs just âbonus materialâ.
I tried my best to promote this project on Twitter with three main tweets. My one regret with promoting the project was making the second tweet after publishing the Showcase because the Japanese I wrote there was pretty terrible (as I was all worn out from editing and was in a haste to tweet about it). I tried to make up for it in a follow-up reply the next day, but it was too late. I was satisfied with how my third and final tweet and thread of battle clips turned out, but it sadly didnât garner much attention. A reason for this was probably due to bad timing. I knew that the timing of the last tweet was awful as HeliosR did something special for April Foolsâ day, plus the Easter event was being hyped around the same time, but I really wanted to finish up the project within March (my timezone, at least. It was already April 1st in Japan).
It was important to also make the videos accessible to the Japanese audience as they were a large portion of the viewers. This proved to be a challenge as my knowledge of Japanese is limited - at least for me, itâs easier to translate grammar-correct Japanese than it is to write my own sentences.
I ultimately decided against posting any of the videos on NicoNico because I wasnât sure about Japanâs laws regarding copyrighted material. I knew it was already risky enough posting on social media and didnât want to take any additional risks.
ABOUT THE FOOTAGE (1) â HEROES & ATTACK ORDER
HeliosR uses a gacha system, so to be able to even make something like this, youâd first need access to all 16 â
4 OG Heroes in the game.
I had them spread across five different accounts, four of which were reroll accounts. Asakou from the Cacalia RPG server gave me two of those accounts, and I rerolled myself for Keith and Ren during their Birthday Orders (one free 10-pull per account). Every account is also given a free â
4 selector ticket which I made good use of.
3,000 rubies (in-game currency) were sacrificed to pity the â
4 OG Dino when he was released in December just for the sake of the fandub!
Besides covering all of the Heroes, I also needed to play through each account to unlock certain story chapters, event stages, and evolve the Heroes for their shiny evolved CG art. Some of the Expert event stages (that had the Nighttime backgrounds) proved difficult to clear with a new account.
When using skills, the order of the Heroes were edited such that everyone was able to have the majority of their lines used at least once. All Heroes had two âreceiving supportâ lines, two or three âsupportingâ lines, and two or three âskills against the enemyâ lines. Some of the extra lines didnât make it into the Showcase, so they were used for the individual clips instead.
I shouldâve used Gray instead of Marion for the account that had Billy because you can see Marionâs sprite in Billyâs image. xD
In the Showcase, you may notice that the "Union Attacks" consist of all the â
4 CG images. These were spliced together; I never had all four Heroes of the same sector on the same account. For example, I would have Gray, Asch, and Jay on one account and Billy on another account, recorded their â
4 Bursts separately using the same background (from unlocking the Expert stages on both accounts), and then edited all the footage together.
Jayâs Burst was later re-recorded with a different attacking order so that he wouldnât link to Billy.
It was also important to keep the same order of Bursts as well as use all four Bursts in the same turn. The â
4 Burst order was usually determined by who didnât link skill with one another (with the exception of East sector as I was still figuring things out) because I didnât want the link skill activation getting in the way of the animations.
As a little bonus, I also showed off the exclusive damaging skills of the Chapter 6 and 7 â
4 frames that I was lucky enough to pull from the gacha: Marionâs "Invitation To The Danceâ (roses), Faithâs âSynthetic Vibesâ (beats), and Dinoâs âCrow Mark Dead Endâ (claw marks).
ABOUT THE FOOTAGE (2) - BACKGROUNDS
Since I didnât want to use the same battle music and backgrounds for all of the videos, I decided to use some of the themes from the limited-time events which went as far back as Nov 2020.
Each background has three variants (Daytime, Afternoon, Nighttime) and so I carefully picked them based on the colours. I ended up using mostly Expert stages - or Nighttime backgrounds, since Daytime versions were only used for Normal difficulty stages (which are too easy to clear).
The backgrounds used for the Showcase, all from limited-time events.
I decided to mix up some of the Heroes from other sectors in the individual clips for fun, basing it off of their relationships with each other. Using South sectorâs background for Gastâs clip was a purposeful choice because I already used the North sectorâs background for the other three North sector Heroes. I made sure to include Akira and Will of the South sector in Gastâs clip so it didnât feel too random!
The only default background I didnât use was Chapter 2âs because I already made use of the Casino theme for OG West sectorâs individual clips. (...Plus I didnât really like that background :p)
Hereâs a list of all the backgrounds I used:
Escape the Prison (Nov 2020) - used for Showcase [EAST]
Mission of CASINO (Nov 2020) - used for Junior, Faith, & Keith clips
HAPPY NEW YEAR SHOW! (Jan 2021) - used for Showcase [SOUTH]
Help! Cooking Hero! (Jan 2021) - used for Will and Oscar clips
A Sweet Spell Garnished With Chocolate (Feb 2021) - used for Showcase [WEST]
Grandiose Chinoiserie (Mar 2021) - used for Showcase [NORTH]
The Hero Is A Detective!? (Mar 2021) - used for Billy and Jay clips
Default backgrounds: Chapters 1, 3, 4 (shared with 7), 5 (shared with 6) - used for all other clips
The Christmas event was the only event that went unused during the Nov 2020 - Mar 2021 period.
I didnât record the East sector event (Christmas) in Dec 2020 because I was actually too busy with the casting call! I also didnât think I would make use of it after already recording the Prison event intended for East sector. The project ended up taking so long that it actually benefited from having a wider selection of events over the months, which also showcased the beauty of the game.
ABOUT THE WORK & VIDEO EDITING
Hardware:
A decent computer.
A pair of no-name earbuds I found while cleaning out some junk.
Software:
All FREE!
*Thereâs a catch
NoxPlayer* emulator (debloated, read more about in its own section) and Open Broadcast Studio were used to record game footage and sounds.
Davinci Resolve was the main tool I used to edit the videos. A very demanding program that I only recommend using if you have a mid to high end computer.
MediBang was used to edit some of the art like the logos, but I ended up using Resolve for the majority of the graphics, including the thumbnails.
Audacity and Cakewalk were used to edit audio.
Many aspects for this project took longer than I had hoped because there was a learning process with using Resolve for the first time. Iâm also a bit of a perfectionist, re-exporting videos tons of times just to fix small mistakes. Lastly, the time it took to make all the fancy effects was longer than Iâd estimated. As the project dragged on, there was pressure to not delay the release of the videos any longer than I had to. A lot of this was self-imposed though.
There were days where I just did something else other than work on the project, which helped re-fuel my motivation when I decided to pick it up again.
Pretty much everything in the videos were taken from the game itself. The only graphics that were taken from the official website instead were the Substance symbols (the pictures with HERO at the bottom).
Additional overlay graphics were custom-made. It took two whole days to make the 3-second long sector intros and another two days to create and animate the arrow graphics for the credits. These were made using Resolveâs fusion and colour features. Much of the edit was inspired by the official HeliosR designs.
Left: Official in-game graphics // Right: My fanmade video (sector intros)
Sector intros were inspired by the four Heroes version of Union Attacks in-game.
Left: Official HeliosR video // Right: My fanmade video
The Preview video took after the â
4 Burst mini-previews as part of HeliosRâs promotional campaign, uploaded before the game was released.
Left: Official HeliosR video // Right: My fanmade video
The credits at the end of the Showcase were inspired by a different video, this time being the Half-Anniversary video.
The Showcase - which had a duration of 29:07 - was 11.5GB large in size. It took almost three hours to render (which I re-rendered to fix things) and two DAYS to upload to YouTube because I experienced multiple uploading interruptions. Itâs a good thing you can re-upload the same video to continue where you left off without having to restart the entire process.
The individual hero clips didnât take as long to make (but they took a while anyway as I re-uploaded some of them to fix minor mistakes). The recommendations for the VAs that were given alongside the publishing of each clip also spanned over another five days as I wanted to personalize and think about each one carefully.
A pretty frustrating part of the project was the prevalent lag when recording footage, which may have been due to the emulator and/or some technical things on my end. The Prison event used for the Showcase was the very first one I recorded when I wasnât as aware about the lag, and so it suffered a bit as a result. The Union Attacks were the worst offender. I re-recorded the same battle scenes several times each just in case, then went through the footage frame-by-frame in Resolve and chose the ones with the least amount of lag. If all of the recorded footage suffered lag at different parts, I would even compare and splice together parts of them that didnât lag. There was also audio lag (a known issue of NoxPlayer) so I had to move all of the audio forward by 1/3 of a second.
By the end of the project I had over 200 videos of game footage with a total size of over 24GB and a total duration exceeding 9 hours, not even counting all the ones that went unused.
The Heroes werenât the only ones who evolved. MS Paint not recommended for thumbnails.
Overall, (despite the few mistakes here and there that nobody other than me would notice) I was happy with how everything turned out, down to the gorgeous thumbnails! I am an artist, after all~ :^)
I also have much more respect for video editors. They should be called VIDEO ANIMATORS!
ABOUT THE VOICES & AUDIO PROCESSING
When making a dub, it doesnât mean we want to replace or best the original language, we just want to give it a new interpretation. In fact, the charactersâ voice descriptions and direction provided in the scripts were heavily inspired by the seiyuu (Japanese VAs) and how they performed their lines.
Honestly, this was THE dream cast!! Some of the VAs had comparably similar voices to the Japanese ones which was an amazing coincidence. The ones that may not have sounded as similar had unique interpretations that I felt still suited their characters well. I also chose actors based on their performance, and everyone delivered!
Voice actors were not expected to imitate the Japanese voices and lines. They were provided direction and reference videos to help time their lines, but were otherwise given liberty when it came to their own interpretations.
You shouldnât hear any jarring differences between the voice actorsâ microphones and setups. Thatâs because I took the time to process the audio. Faithâs audio was submitted to me post-processed so it was used as a guideline for what the audio quality should sound like. Some of the others had comparable quality to Faithâs, so I only added compression to balance their volumes. Most of them benefited from equalization of various levels - this took some experimenting back and forth with the frequency spectrum. Lastly, a couple more benefited from clip fixing, noise gate, de-essing and/or click removal. It was very important for VAs to have at least decent room treatment; while small differences between mic frequencies can always be altered, echoes are difficult if not impossible to remove completely.
I feel that audio engineering is highly underrated and more important than ever as voice actors continue to record from home studios.
And in case it wasnât already clear, this was purely voluntary work. No VAs or myself were paid to contribute anything for the project. Though, the experience alone was worth more than any amount of money.
ABOUT THE SCRIPT & TRANSLATIONS
HELIOS Rising HeroesăăšăȘăȘăčRăEnglish Translation - Battle Lines
https://docs.google.com/spreadsheets/d/1ImWrAfvS_hgp6qr5qt30vCP63uHEk2o79uqY0h-3wL4/edit?usp=sharing
This spreadsheet consists of the literal translations for all the battle lines I could find in the game (it still isnât done -yet-, plan to finish it when I get the chance). These are only fanmade and are not guaranteed to be accurate, especially as I wasnât able to find another translator to help or proofread it.
After translating the lines, I made many additional revisions from the literal meanings such as changing the intention of the line slightly to flow better, having extra words added in to provide more context, or changing them completely. Thus, the lines used in the video are NOT literal TLs!
Another thing of note that may not seem apparent, but is what I feel an important aspect of character writing, is to remain completely unbiased towards all the characters. Personal favourites aside, I ensured that every Hero had their own spotlight as well as lines written in a way that remained faithful to their personality, no matter how unlikeable they were (looking at you, Asch Albright).
Even after giving voice actors their scripts, I made another revision in February after the release of the aforementioned Half-Anniversary video with the transcriptions for the ïżœïżœïżœ4 Bursts, which is when I discovered a couple of mistakes with my transcriptions. This resulted in me having to edit out a part of one of the voice actorsâ lines (Billyâs âString Showâ line in his â
4 Burst) because of a translation mistake! Iâm really glad I was able to double-check the correct lines before releasing the Preview video, or it wouldâve looked pretty silly to Japanese viewers.
The last set of revisions were just minor edits to the subtitles (such as using kanji instead of kana) while I was working on subtitling all the videos.
Notable changes included:
WILL SPROUT
During attacking combo
Original line:
tanonda zo... ike! / âCounting on you... Reach!â
Rewritten line:
âIâll become stronger... For everyone!â
The rewritten line is a condensed version of one of Willâs â
4 Evolved CG lines (âFor everyone... Iâll become more and more stronger!â). He had âReach!â in both his attacking combo and regular Burst, so I gave him an extra unique line.
â
4 Burst
Original line:
warui kedo... kore de oshimai da! / âSorry, but... it ends with this!â
Rewritten line:
âIâm sorry, but... itâs over for you! HAAAH!â
There were a couple of oversights I made with the script, and this was one of them that didnât fit the animation properly. Props to Ryan for coming up with the extra shout at the end! So yeah, we kinda winged this line.
OSCAR BALE
When using skills against the enemy, during attacking combo, and in the â
4 Burst (repeat line)
Original line:
osoi! / âSlow!â
Rewritten lines:
âToo slow!â / âYouâre slow!â / âOver here!â
Rewritten simply because I wanted to minimize repeated lines and change things up.
GAST ADLER
When supporting an ally, and during attacking combo
Original lines:
tetsudau ze / âIâll help (you).â
itchouagari / âAll done.â
Rewritten lines:
âIâve got your six.â
âTarget eliminated.â
I wanted to add in a few military terms to reflect Gastâs background.
FAITH BEAMS
â
4 CG line (for the credits)
Original line (literal TL):
âItâs not terrible or evil, right? Surely this isnât punishing... I guess?â
Rewritten line (with âmistakeâ):
âIâm not doing anything horrible or evil, alright? This is just business as usual... I suppose?â
Faithâs CG line had a mistake when I first translated and handed it off to his actor. I accidentally wrote âoshigotoâ (work/business) instead of âoshiokiâ (punishment). The original has him pretty much saying the same thing twice anyway, so I would say the intention was still retained.
KEITH MAX
When supporting an ally
Original line:
gambare yo~ / âDo your best~.â or âHang in there~.â
Rewritten line:
âStay alive, would ya~?â
I know Keithâs meant to say âseriousâ things in a sarcastic or snarky way, but I just had to add in this fun line!
DINO ALBANI
Using skills against the enemy
Original lines:
haa! / âHaah!â
hei! / âHey!â
Rewritten lines:
âI can do this!â
âLeave it to me!â
The Japanese lines for Dinoâs offensive skills were rather basic, with the third and unchanged line âHere goes!â being a repeat line Dino also says when attacking. I wanted to give him some more lines - as standard as they are - to show his personality a bit more, along with having an additional fun West sector interaction. The changes fit the animations better too. (I actually had his VA say the "Haah!" line, but ended up using a different take of âHere goes!â in place of it.)
ABOUT THE FONTS
Fonts were taken from various sources and were either FREE for personal use or had an open font license. I didnât have access to the commercial fonts (such as Futura) used in-game, so these were the following fonts I made use of:
Techna Sans looked similar enough to Futura when capitalized, and still looked decent in lowercase.
Jost* is a font that was derived from Futura. Some of its uppercase letters are sharper than Futura's, but it worked pretty well for the text in the credits.
Gau Font Over Drive was used for the ANIMATION SHOWCASE text.
Gen Jyuu Gothic LP was used for the majority of the Japanese text and its English letters were also used for the battle clip subtitles on Twitter.
Meiryo UI (default font) was used for the Preview videosâ subtitles.
Noto Serif JP (default Google font) was used for the serif Japanese text in the credits.
ABOUT NOXPLAYER ANDROID EMULATOR
ETA: AS OF VERSION 1.1.18 (04/23/21), EMULATORS NO LONGER WORK WITH HELIOSR (AS WELL AS OTHER CACALIA STUDIO GAMES). THE BELOW INFORMATION IS OUTDATED.
If, for whatever reason youâre interested in using NoxPlayer, you should take caution when installing it onto your machine. I donât advocate for or recommend installing Nox. I had to resort to emulation so that I could record the footage and sounds directly from my computer using OBS. The reason why I used Nox specifically is because Cacalia Studio doesnât like emulators, blocking most of them from running their games. I found further instructions on how to run the game in Nox from the Cacalia RPG Discord (via Twitter @HeliosR_en).
First, not all Nox versions are safe. It should only be installed from the official website, Bignox. More recent versions (I believe from 6.3.0.6 and up) may contain malware such as Segurazo and Chromium packaged with the installer which can be annoying to remove. The version of Nox I used was 6.3.0.0 (you can install older versions, then just donât update it), which has Android 7 and doesnât contain packaged malware (AFAIK).
Second, NoxPlayer may be âfreeâ to use, but it comes with bloatware and profits off of its usersâ data by collecting and sending it to many different servers. The below guide is what I used to debloat Nox and minimize communication to these servers. Scroll down the comments for additional domains to add to the hosts file.
Debloating & Optimizing Nox:
https://gist.github.com/Log1x/12d330ef7685d6fbc611d1d57efb5c29
This is another good guide that makes use of command prompt to remove additional bloatware from the emulator.
How to Remove Bloatware on Nox and LDPlayer Emulator:
https://codefaq.org/emulator/how-to-remove-bloatware-on-nox-and-ldplayer-emulator/
ENDING NOTES (TL;DR)
Images of the first and last video for the HeliosR project. Weâve come full circle!
One very tired and average person decided to translate, script, cast, direct, and edit an ambitious project all by herself using only FREE tools, and ended up taking too long to finish it. But at least she finished it, right?
Translators = RESPECT
Voice actors = RESPECT
Video editors = RESPECT
Audio engineers = R E S P E C T (their work is especially behind-the-scenes)
Hell, I even like Asch now.
During my time working on this, there was one question I always had in mind: âWhat would the fans want?â
I hope this follow-up has given you a bit of insight into the makings of the HeliosR project. Thank you for reading!
~RubyJCat
#heliosr#helios rising heroes#animation showcase#english#fandub#dub#voice#voices#voice acting#fanmade#fan#behind the scenes#my projects#english translation
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Haruki Sakuraâs Message
Spoilers for part 3 under the cut. And by part 3, I mean to the very end of part 3. Youâve been warned.
Okay so remember Sakura Message? And how Haruki had apparently relayed a message to Nagi via the songâs lyrics?
Someone on Twitter figured it out, and though theyâre not 100% certain, I think it makes sense, and Iâve gotten their permission to translate it (itâs not 100% accurate, but Iâll do my best to get the gist of the deduction across!!)
Original Tweet (@kiorish)
Full cipher break in Japanese
â» In a magazine interview, lyricist Masaki-san stated that âThe truth is that the gimmick is set in âSakura Messageââ.
â» In order to break the cipher, Iâve used song lyrics.
â» This is simply me playing at deductive reasoning. Please remember that this is not intended to be the absolute truth and may not be accurate.
Regarding the deduction,
I started at the solo parts sung, beginning from Nagi at the end of the song.
[[In order to make it easier on those who canât read kanji, or suck at it like me, Iâve included romaji and turned all kanji to hiragana, and separated the romaji to correspond with each hiragana character.]]
(Nagi) ăă€ă§ăăăăăČăăăă«ăăăŁăŠă [[I tsu de mo ki mi wo hi so ya ka ni o mo t te ru]]
(Yamato) ăăźăăăăăšăăăăăăȘăăżă [[So no ko ko ro ga to ji ru ko me ta ka na shi mi mo]]
(Iori) ăă㊠[[Sa i te]]
(Mitsuki) ăă㊠[[So shi te]]
(Sougo) ăĄă«ăăă [[Chi ni ka e ru]]
(Tamaki) ăăăčă«ăź [[U su be ni no]]
(Riku) äžăĄăăă§ă€ă€ăăă [[I chi zu sa de tsu tsu mu ka ra]]
(All) æ°ă„ăă°ăăăȘă«ä»æ„ăźäžçă äŒăăăăăźèšèă䞊ăă ă [[OP didnât use these lines in the same way so Iâm not transliterating it]]
Words that describe the world today are lined up, so assume the answer is hidden here. Next, from the lyrics each member sings, extract one hiragana character like so:
ăăźăïŒăăăă [[Mi]]
]性ćăïŒăăăźă [[No]]
äžçčăïŒăăăă [[Sa]]
äžæăïŒăăăŠă [[Te]]
棟äșăïŒăăăă [[Ru]]
ç°ăăïŒăăă«ă [[Ni]]
éžăăïŒăăă€ă [[Tsu]]
[[Okay, so in this part, OP takes the hiragana that corresponds to each memberâs number from their respective line. e.g. Nagiâs number is 6, and the 6th character in his line is the katakana ă , and Mitsukiâs number is 3, and the third character in his line is ㊠.]]
Then take those characters and write them in romaji, and break the anagram.
MI NI SA TE RU NI TSU
â Pic of the anagram
N SI NI SO U MA T TE RU
N SINISOU MATTERU
N æ»ă«ăăăćŸ
ăŁăŠă
ăăźăïŒæ„æščăïŒæ»ă«ăăăćŸ
ăŁăŠă
Nagi, (Haruki)âs dying, heâs waiting for you.
Sakura Messageâs chorus/main is not the work of the usual in-verse i7 lyricist, but âthreatened and written-inâ. [[They definitely talked about this in the last (two?) chapters, when Nagi began confronting Natsume proper.]]
Natsume called it âironicâ. [[In game, when talking about Sakura Message, Natsume used the phraseăçźèă , âhinikuâ. But I donât understand Natsume like half the time he talks because heâs so damn cryptic so (ă·_ _)ă·]]
This is directed at Nagi: Haruki, who seems to be dying, is waiting at the place where âTodayâs world = reality, the presentâ. Since Nagi didnât notice this hidden message at all, Natsume calls it ironic.
...So it seems.Â
T/N: Iâm dy in g.
First of all, nothing we didnât already know from the actual story (I think?) but I thought this was really cool.
Uh, yeah, Iâve basically just included notes up there so.
But yes, please go give ăăăă props because this really is amazing.
SOMETHING TO NOTE I ALMOST FORGOT
The romaji for æ» is technically âshiâ, but if you type âsiâ into a Japanese keyboard, you get ă, which IS âshiâ.
EDIT: there are more Sakura Message deciphers??? do i want to translate them. I just took a look at the first line in the other one and uh. is. is part 4 going to involve more violence. or like. politics. because thatâs what it seems like if this 2nd cipher is right aljfka
#idolish7#i7 spoilers#idolish7 spoilers#part 3 spoilers#my back hurts#is it time to go translate iori's song or is it still too much angst for me to start just yet#more rookie translations#i just noticed but#it's already 1 am over here???#rip me#should i include part 4 spoilers#i guess i'll add it after i get the other cipher down#ăąă€ăăȘăă·ă„ă»ăăł#ăąă€ăă
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Hisashi Imai + Sayoko Takahashi interview translation
From Rockinâon Japan September 1992 or BT8992
Sayoko Takahashi was the vocalist and main lyricist of the new wave band Zelda. The name Zelda was taken from Zelda Sayre, they are famous for being one of the very first all-girl bands in Japan, and of course, the members wrote lyrics, music and played instruments themselves. In my opinion, they were one of the best in the 80s Japanese new wave scene. The band was formed in 1979, made their major debut in 1982, disbanded in 1996.
Takahashi was born in 1964, joined the band in 1980. She has also released works as a solo singer, now she is in a band named Sayokootonara.
Sorry for the possible mistakes in this translation, including spelling and grammar ones. All I can say is that my translation wonât create big misunderstandings.
I = Imai
T = Takahashi
Interviewer = Tetsushi Ichikawa
Hisashi Imai + Sayoko Takahashi
We are new wave fellows
B-T and Zelda. Man and woman. Science and primitivity.
Countryside and metropolis. Even with all those differences, they are still of the same race, an interview of âthe two motherlandsâ.
âImai, when was the first time you listened to Zelda?
I: 1st grade at high school, it was their first album.
T: I was 17 years old then.
âYou are close in age.
I: I bought many Japanese new wave records like Ippu-do and Lizard around that time. I knew the name Zelda, but their records were not easy to find in Gunma.
âWhatâs your first impression of Zelda?
I: impression...their music was pop, but with a strong metallic feeling.
T: Ah, metallic.
I: I love every song on the first album.
âSo you are a passionate Zelda fan.
I: I was a fan!
T: âWasâ?
I: Hyahahahah
T: He let it slip. I once met him in Okinawa, he told me âI like your first three albums.â
I: Iâm sorry.
âBut Imai felt much regret after that, didnât he?
I: Yes.
T: Please just tell us your true feelings.
âIt was the âbook girl eraâ of Zelda, so you like Sayokoâs lyrics?
I: I like them very much, such as the triple meter one with short lyrics.
T: Ah, âIf you go to buy peace~â
I: Yes, yes, yes, yes, this one.
ââThe development area is always in twilightâ.(Note: Itâs the name of the song, âéçșć°ćșăŻăă€ă§ăć€æźăâ) Many people say âthe old Zelda was betterâ, it seems Zelda have a cult following, however, as someone who has already been making music for ten years, wouldnât you get angry at those comments?
I: Ah
T: But when people says that...
I: So you did get angry.
T: No, no. I have thought the same about other bands. If we can continue making music, and make something even better, maybe one day we will return to our old sound. Times revolve, continue creating is the most important thing, we shouldnât be defeated by the complaints.
I: I think your sound went through a significant change in the 3rd album.
T: Yes, it changed in Sora-iro Boshi no Hi. You like the 2rd album better, donât you?
I: But the 1st album is still my favorite.
âHe annoys people. Anyway, in 1981, Zelda seemed to be so innovative, the lyrics, the sound, the appearance all had that aesthetic feeling.
T: We have attracted the most attention because we are girls, but during that period, there were also many boys bands who were very innovative in both music and the way of being.
âBut among all those bands, only Zelda continues to exist in the original form till today.
T: Hm, among the Tokyo Rockers, Friction and S-KEN have been active in their original forms as well. (Note: Tokyo Rockers = bands who played in S-KEN studio in the late 70s, âTokyo Rockersâ was the name of gigs they held in that studio, later they made a complication live album with same name.)
I: Here come the great names.
âThen Sayoko, When did you know B-Tâs name?
T: When we were recording Sora-iro Boshi, our former manager brought us the self-made record, the one with black-and-white cover, on which Sakurai-kun had his hair put up.
I: Ah, ah!
T: He bought us that record, said, âThose people like your music.â
I: Iâm very glad. Itâs âTO SEARCHâ from Taiyou Records.
âWhatâs your feeling about it?
T: Iâm sorry, to be honest, I didnât have much of an impression.
I: ......
T: But, but I bought many bandsâ many records at that time, Iâve forgotten almost all of them, I only remember BTâs, the cover was so cool.
âHahahaha. You are about the same age, and your musical experiences both began with new wave.
I: Ah, yes. For me, itâs Japanese new wave bands, YMO, The Stalin, we were a Stalin copy band at the beginning. (Note: I think everyone already knows that, but Stalin was the name of a band)
T: Itâs absolutely amazing. For me itâs foreign music, I was obsessed with Patti Smith, listened to her again and again. When I was in middle school, I thought, âSomeday I will surpass her as a singer.â Then one day I saw the special issue of Tokyo Rockers in a magazine, I realized that even in Japan, there were people using words and music to express what I was thinking about. They wore black sunglasses and thin ties, put their hair up, all looked so stylish. I went to Shinjuku to see them. Tokyo Rockers were the first Japanese groups to give me influence, they were the direct reason that I decided to make music myself.
I: I didnât see them in real time, I knew their name before actually listening to their music.
âDo you consider Zelda as âTokyo Rockers Childrenâ?
T: âAfter Tokyo Rockersâ, together with Stalin and JAGATARA, we are the next generation influenced by them.
âIsnât new wave a very special genre? The sense is more important than technique, knowledge and pattern.
T: Yes, 99% of me is feeling, so I think I was born into a good time to make use of my talents. What we are doing is more than just making music, there is something artistic about it.
âYou can take elements from other subcultures.
T: Yes, yes, yes, itâs so good that we can do anything, itâs the best for me.
I: I have thought the same. I found that in this genre itâs okay to do anything, so I thought âI can do it as wellâ.
T: Yes, people would think so.
âThe core of new wave is that even someone who has never touched an instrument before can do it, because itâs a matter of sense.
T: Yes, at that time, everyone thought so, now we can say that way of thinking was truly an innovation.
I: Me too, I began playing guitar and started the band at the same time.
T: Therefore we have much more possibilities, itâs very important that you can make music when you are not a real musician.
âDonât you consider yourselves real musicians?
T: No, no.
I: Hmm... No. What I make is music, but I donât understand things like music theory.
T: Me, too! Me too.
âWe were born with new wave, so letâs follow nothing but sense till we die! Something like this?
I: When we keep advancing, following the sense, naturally we will find things in music theory, like the scales, look more and more familiar.
T: I feel the same. Itâs not about knowing the music theory, itâs about living with music, music is inside my heart, I can release myself into the world of music while playing it. I think it will be great if I can carry music with me in this way. Do you write lyrics, Imai-san?
I: Yes, I donât write as many as before though.
T: What are they like?
I: What!?
âJust introduce your favorite lyric.
I: Introduce? Itâs a song called âBrain, Whisper, Head, Hate is noiseâ.
T: Whispers of brain, sounds cool, it rhymes.
I: It can be explained in many ways, I described it in an abstract manner.
âWhat did you describe in an abstract manner?
I: Hmm...I got a suspended sentence for it. (Note: Oh I thought only Acchan wrote that kind of lyrics after it, Maimai bravo)
âHey.
T: I canât understand, whatâs that?
I: ...Itâs like, in the midnight, doing something to make your mind so sharp.
T: Was it an awakening?
I: Yes, it feels like you are looking at something that shouldnât be seen, suddenly you know the truth, you know too much.
T: This bad trip feeling could be experienced even when you are just writing lyrics or listening to music, when you are longing for something which belongs to a place outside normal every day life. I like that twisted feeling, twisted things are more beautiful, I can understand.
âIn the early days of Zelda, Sayoko wrote lyrics about extraordinary things which were almost identical to daily life.
T: I wrote about my frustration, like âI donât want to go to schoolâ.
âBut your expressions have a strong literature feeling, there is a kind of dignity floating around.
T: At that time, I couldnât help hating lyrics about attacking others, but being blind to oneâs own shortcomings. So I wasnât interested in punk, which didnât say anything about oneself, only spat on others, it sounded too selfish for me. However, new wave felt like being alone inside oneâs own world, it wouldnât cause trouble for others. Then I wrote lyrics not in a straight way, I made them warped, added a lot of adjectives, till I had added so many colors into the lyrics that they became incomprehensible.
I: I was influenced by your style.
T: Really?
I: Such as in the first album, the one with âfather and mother have both turned into robotsâ.
T: Itâs âRobotomeiaâ. (Note: I wrote it in Romaji because I canât figure out its possible English spelling.)
I: Itâs wonderful, I mean the mysterious feeling. But in our early days, when I was the main lyricist, I wrote a lot of embarrassing love songs. Writing straight love songs makes me nervous, so now I write them in an completely abstract way so that people wonât know they are love songs.
âBut I think this straightness, this awkward feeling is one of the keys of Japanese new wave.
T: Werenât those unorganized feelings part of our generationâs everyday life? The everyday life of shy teenagers like us.
I: Yes.
T: The appearance of new wave has freed many people from their emotional repression, including me.
I: In my case, showing my true self to others makes me embarrassed. Even the fact that Acchan is the one who has to sing it wonât help.
T: You are a bit too cold. I used to think âwhere is the good of singing about my real experiencesâ? However, 3 or 4 years ago, in Shout Sister Shout, for the first time, I wrote a love song based on my real experience, then people told me âActually I have felt the sameâ. I began to know that what I felt could be felt by anyone, itâs not too embarrassing.
âYou have overcome your shyness.
T: Yes, then I began to take pleasure in it, I tried to write lyrics more honestly, eventually they became too honest.
I: I have been embarrassed by music as well. It makes me want to disappear from earth.
T: I understand, our first album for me...
âHey, sitting next to you is someone who has been enjoying your first album for 10 years.
I: Thank you.
T: But itâs our first recording, I felt repressed. I cried so much before the recording of one song, my voice was shivering, so I feel uncomfortable listening to it.
I: Which one?
T: Hehehehe, itâs âTo Ra Wa Reâ. (Note: itâs my fav on the album âZeldaâ)
âSo itâs not funny. Then, from the starting point of new wave, you went in different directions, Sayoko went for world music, Imai went for techno, itâs very interesting.
T: But if we keep going, I feel one day we will be back to the same road. Forms of our music are different, but we have the same roots. People from the new wave era have chosen the native direction, or the electronic direction, but the differences are on the surface, the basic idea of desiring to escape from the ordinary is still the same.
I: In my case, I took the guitar by chance. The digital sounds are what I have been seeking for from the beginning. I often get unsatisfied with the sounds I have made, I keep buying effects units, till I find the sound I want. No matter it sounds like a guitar or not, if itâs the sound you like, there is no need for self-control, just use it.
T: Iâm different, in the end, the sounds I want are what come directly from human bodies, from a place without electricity. So we are the leading edge and the origin, but we have the same starting point.
âImaiâs âignoring the schemesâ is new wave, Sayokoâs âreturning to the originâ is new wave, too, are there no such things as traditions or patterns which are followed in this genre? I mean, your ideas come not from seniors, but rather from your individual selves.
T: Thatâs right, itâs an universal genre dominated only by sensibility.
âI want to hear about your roots.
I: My natural sensations match new wave and techno, by coincidence. When I was in kindergarten, I got unusually excited when I saw metallic things like the vacuum tubes inside a television, one day I went to the garbage dump in a hospital, there were many plastic syringes, I felt very happy seeing those.
T: Hahahaha.
I: When I listen to music like new wave, a similar feeling comes to me. I hated listening to music before, but I began collecting records after knowing about new wave.
âFor Imai, new wave is inorganic products like syringes and vacuum tubes.
I: Yes, I was attracted by the idea of turning human into machine at the beginning.
T: In my case, being born in Tokyo during the economic miracle period has a great influence. When I was a child, instead of mountains and rivers, I saw tall buildings, subways, high ways everyday around me, and I loved it! I found myself imagining doing things like diving from the skyscrapers, riding bicycles on the highways. The concrete felt like nature to me, there lay my playground, I was also very fond of reclamation ground (Note: on Zeldaâs second album âcarnavalâ thereâs a song named âUmetateâ, which means âreclamationâ, Sayoko said âI go to reclamation ground everydayâ in it). But every place I had been to had the marks of city life, finally I grew bored of metropolis. I moved to Kamakura 2 years ago, now I live with the nature, but sometimes I return to Tokyo, find the sights to be beautiful again.
âZelda is the synonym for metropolis.
T: People always say we are a band of Tokyo.
âIt seems the glitz of B-T is not a Tokyo thing.
I: After all, we are a band of Gunma.
Fun fact 1: Kokusyoku Sumire have covered Zeldaâs song Watashi no Orchestra. You can try Zeldaïżœïżœs version even if you donât like Kokusyoku Sumireâs, because Zelda were not Lolitas, they were punk rockers.
Fun fact 2: Being a bungaku shoujo, Sayoko once had a essay column in the magazine Takarajima, which was a subculture magazine focused on new wave artists like YMO, Jun Togawa, etc. Later this magazine began to feature newer popular bands like Seikima II, Buck-Tick, Jun Sky Walker(s) and X Japan, then it turned into an adult magazine, became very successful. And Iâm not suggesting BT is something lies between 80s new wave and porn, sorry.
(scanned by Tigerpal on Livejournal)
#Buck-tick#zelda#imai hisashi#hisashi imai#takahashi sayoko#sayoko takahashi#rockin'on japan#interview#new wave#japanese new wave#to prove I can do more than posting about Cipher babe and Acchan's lips#1992#weird kid#brain whisper head hate is noise#her lyrics are so nice
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