Masterlist: EP 1 || EP 2 || EP 3 || EP 4 || EP 5 ||
Y: 正直言って 怖い
近づく度に 心臓が跳ねるから
何なら近寄らないで欲しい
住む世界が違うから
好かれたいとかは思わない
ただ。。。
嫌われてしまったら死んでしまうかもしれない
想像するだけで 胃液がせり上がった
Y: To be honest, I was scared.
Because whenever he came close to me, my heart leapt and skipped a beat.
I wished that, if possible, he wouldn't come near me
because we lived in different worlds.
'I want him to like me' - I never had a thought like that.
It was just...
If he ended up hating me then I felt like I might die.
Just thinking about it made my stomach turn.
We've seen for awhile that Yoh's fear that Segasaki will one day come to disdain him is what keeps him from voicing his thoughts out loud - but it is in Ep 6 that we truly learn the intensity with which Yoh feels, and come to understand why that fear overwhelms him to the point that he is incapable of hearing Segasaki's love for him.
Or, Yoh sees Segasaki for the first time and literally starts spouting poetry in the way only a visual artist can. Get ready for a lot of interaction breakdowns - this episode tells us quite a lot about these two! Same translation disclaimer applies, Ep 6, let's go!
S: 相変わらず 歩くの遅ぇな
S: As usual, he walks so slowly
Y: あのさ 実は
Y: 出てくるときにケンカしちゃって
M: え?どうしたの
Y: お前の仕事なんてどうでもいいって言われた
M: 瀬ケ崎さんが?そんなこと言ったの?
Y: どうでもいいって なんだよ
Y: 人が一所懸命やってることに対して*
Y: 最低だよ あいつ*
Y: You know... actually
Y: When I was leaving we got into an argument
M: Huh? What happened?
Y: I was told "I don't care at all about something like your work"
M: By Segasaki-san? He said something like that?
Y: "I don't care at all"... what's with that!
Y: To say that about something that someone is giving their all for...*
Y: He's the worst, that guy**
**Yoh uses あいつ (aitsu) to refer to Segasaki as "that guy". This is again considered rude, though is often used amongst male friends as well (like calling someone an asshole/bastard). He tends to use this word to refer to Segasaki in his head, especially when he's annoyed with him.
*Just like at the end of Ep 5, where Yoh emphasizes that he will become someone who can earn more as opposed to just earning more, here Yoh specifies that he is upset with Segasaki's response to his work, rather than being upset with the response being directed at himself, as the original subs imply. It's a small difference but I think it's important because it fits with his entire character. He has consistently only been triggered by comments about his work, not about him as a person. Yoh is self-conscious and sensitive about his work, because he sees competence as a measure of worth. It's precisely because he ties his self-worth to his work that he falls into such a deep depression in Ep 5, and it is the same reason why Yoh does not understand what good Segasaki could possibly see in him - after all, there is no merit in just being who he is, only in the work that he can do.
Y: いや それは都合よく受け取り過ぎだよ
Atsuya: ダヨ君 言葉って受け取り方が9割だからさ
A: 同じ言葉でも その時の気持ちやコンディションによって
A: 違った意味に捻じ曲げちゃうものなんだよ
A: ダヨ君が元気な時だったら もっと甘~く聞こえたんじゃない?
Y: No, that's just over-interpreting it in my favor
Atsuya (Man-san's husband): Dayo-kun, they say that about 90% of the meaning words convey comes down to the way we interpret them, so
A: Depending on the way we feel, or our condition in that moment, that meaning can end up distorted and warped, even if the same words are used, you know?
A: If Dayo-kun you, had been in a happier mood, might it not have sounded a lot sweeter to you?
Y: ん。。。いや、違うんです
Y: 俺とあの人って そういう感じじゃないんで
Y: Mm... No, it's not like that
Y: That person and I, well... that's not what it's like (between us), you see
Y: When I first saw that person
I thought that he might not be a living thing from this planet
At the very least, out of all the forms that I had ever seen on this Earth
I thought he had the most beautiful one.
The shape of his ears, the ridge of his nose,
The line of the angle of his jaw, the full contour of his lips
Even the structure of what could not be seen - the globe of his eyes -
I thought for sure that too must be beautiful.
Y: 趣味で漫画は描いてたけど
現実の人間を描くのは初めてだった
それに
男を描きたいと思ったのも初めてだった
今 目に焼き付けて 描きつけておきたい衝動に駆られた
たぶん あの美貌と同じ空間にいた
そのせいで 俺は おかしくなっていた
Y: I had drawn manga as a hobby but
It was my first time drawing a real live person.
And,
It was also the first time that I thought "I want to draw a man"
In that moment, driven by impulse, I wanted to burn his image into my eyes, to capture his likeness down on paper.
Probably, it was because I was in the same space as that beauty.
It was because of that, that I began to go crazy.
At 06:44, when Segasaki's green shirt classmate comes in calling his name, you can see that Yoh mouth’s "Mizuki" after he hears it.
(Btw Green Shirt later wears a Red Jacket, and is played by Nishimoto Maiki, the leader of the group Acchan is in - GENIC. Cute shot of the 3 of them here)
S: 直接何かしてくるわけではないし 別にいいと思うけど
S: Well it's not like he's doing anything to us directly... I think it's fine actually
Y: 女の子が相手なら
一目惚れだとはっきり思ったかもしれない
でも ただただきれいな男だったんで
自分の脳が そこまで処理しきれなかった
Y: If it was a girl
Then maybe I would have clearly understood that this was love at first sight
But it was just very simply, a beautiful man so
My brain couldn't handle processing more than that
Most of this is not subtitled, and it’s a little muffled, but as the group walks over you can hear that Segasaki is the center of their conversation here, though he's not actually participating in it much. It speaks to the group dynamics, so I'm including it here (Segasaki is bolded):
Girl: ええ?
S: ちがうよ
Red Jacket: 瑞貴じゃん、ね、今ね?
Girl どうせモテるじゃん
S: いやモテない
Red:モテるよ瑞貴が
Girl: 告白されてるよ どうせ
Red: されてる されてる
Girl: あれ!ぼっちくん*じゃん
Red: うわっ マジだ ぼっちくんじゃん
Boy: いつも俺たちのことチラチラ見てる
Girl: ちょっと来なよ おしゃべりしたげるからさ**
Girl: Whaat?
S: It wasn't
Red Jacket: It was (said to) Mizuki wasn't it, right? Just now?
Girl: I mean you're popular anyway!
S: No, I'm not
Red: Mizuki's popular
Girl: Whatever it is, that was a confession (you received)
Red: It was, it was
Girl: Oh hey! Why, isn't it Little Loner*?
Red: Oh snap, you're right! It is Little Loner!
Boy: The one who always sneaks looks at us
Girl: Come here a bit, we'll talk to you, ok?**
*ぼっちくん (Bocchi-kun) - Bocchi is slang for loner, and by adding the suffix "-kun" to it, they've turned this into a diminutive, like a nickname. It sounds cute and friendly, but is clearly meant as a casual sort of insult, so I've translated it as "Little" here.
**This is an interesting line to discuss. She tells Yoh to come over, using the phrase 来なよ (kina yo) - this is the same "na" that Segasaki uses in Ep 4 actually, when he tells a drunk Yoh to go sleep in the room. It's the exact same word form, but where it was tender when Segasaki said it, it's highly insulting here - and the reason is because of the context and their (non-existant) relationship. She may be Yoh's senior, but this is the first time they're meeting, and they are nowhere near close enough that this phrasing would ever be seen as appropriate. She then tells him "we'll talk to you", using the colloquial form of "~したあげる (shita ageru)" aka "to do for you" - in other words, she's framing the action of them talking to him as if it were a gift from them to him (this word form also implies they are above him in the hierarchy). She also adds the polite prefix "O" to the word for "talk", which in this context is meant to make her appear sweet and ladylike.
In other words, with just one line, she has insulted Yoh not only by talking down to him as if he were a small child or a pet, but also by insinuating that she's a sweet, lovely person who has been so kind as to deign to speak to him.
Y: あの。。。俺* 買ってきます
Y: 絡まれてるより100億倍マシだわ
Y: Um... I*... will go and buy it.
Y: That's definitely 100 million times better than getting harassed by them
*Yoh still uses the masculine pronoun 俺 (ore) for "I" here (the same one he's used in every episode) which is remarkable for the fact that he doesn't switch to the more polite form 僕 (boku). Nowadays, it isn't really expected per se that a junior make this switch - especially since "ore" is usually the go-to pronoun for most male university students - but the switch wouldn't be surprising either, given that they are his seniors. Yoh does acknowledge their seniority when he uses the formal -masu form of the word "to buy" - but in the context of them bullying him, the choice to stick with the more masculine pronoun "ore" suggests that he isn't intimidated by them.
Red: セルフパシリって すごくね?
Girl: やばいよ
Red: He automatically offered to be an errand boy! Isn’t that crazy?
Girl: It’s nuts!
パシリ(pashiri) - to be made to run errands - is slang, and it is used specifically to refer to cases where someone with more social power orders another around. It’s almost always linked to bullying or misuse of social power – so by using this word, these guys - they know exactly what they are doing.
Y: クソだよ あいつら*
Y: Those bastards*… they’re trash
*Yoh uses the same word あいつ (aitsu) to refer to the gang that he did at the beginning of this episode to refer to Segasaki - once again it is the context that changes the meaning of this word. With Segasaki, it is proof that they share a close relationship. With these upper classmen that he's just met - it's definitely rude.
This is a very common form of bullying in school, and evidently, Yoh recognizes it immediately. The fact that he jumps so quickly to cooperating with it tells us sadly that this is something he's familiar with - he's likely been bullied before. This is unfortunately, unsurprising, because Yoh doesn't adhere to social norms very much. He eats alone, he stares at people, he doesn't greet his seniors properly (that slight bow is not enough, there should at least be a verbal greeting of some sort).
In my post on amae, I talked about how the interdependent self-construal means that one's ability to assimilate is seen as a value. In the same vein, people who do not fit in with the group, or who do not conform, are not looked upon favorably in Japan, because it is often assumed that they simply do not want to. It is not that they are unable to assimilate, it is that they are refusing to make an effort to be part of the group, and thus the fault and blame lies with them. Ostracization of those different therefore, is the expected consequence and punishment that the group metes out. All of us have to do our part to adhere to the rules of the group - what makes you so special that you can do your own thing? If you just did your job of fitting in like the rest of us have, well, then you wouldn't be in this position in the first place, now would you? - This sort of justification is the reason why bullying in Japan can become very, very extreme, and why despite efforts, has been so difficult to eradicate.
S: そんなに 一人で持てないだろうと思って
S: 貸して
Y: ありがとうございます*
S: 行こう
S: I thought all of that was probably going to be too much for one person to carry
S: Pass it over
Y: Thank you very much*
S: Let's go
*Yoh uses the full, polite version of "thank you" here, and he will, for the most part, continue to use desu/masu forms with Segasaki, and answer him politely, in recognition of their senior/junior relationship. Similarly, Segasaki uses informal forms with Yoh, though he maintains a friendly demeanor and does not drop to rude forms at all, because they aren't that close yet. Note how he says 行こう (ikou) for "let's go" here - different from his present day "we're going", which leaves no room for argument.
(Also, he took the heavier bag of drinks (´ ▽`).。o♡)
Let's break this down to look at some social cues and nuances:
S: You walk quite leisurely, don't you?
Y: I've... been told that a lot
This is more than just a callback to the beginning of the episode (or a chance to contrast how much more polite and sweet Segasaki sounds here 😂) - This is another way in which we see Yoh does not fit in. Segasaki is his senior, who has gone out of his way to come help him (never mind that Yoh's being bullied), and he should at the very least, be trying to match Segasaki's pace, not making him wait like Yoh does here. Segasaki's comment should be taken as much as an expression of surprise, as it should a cue to catch up - Yoh glances briefly at Segasaki after this line (which seems to amuse the latter) but he doesn't actually apologize outright or walk any faster. He does admit that he's been told this often - which sometimes can work as a concession, because you sort of validate what the other person is saying, but at the same time you aren't quite agreeing either. That said, it can backfire, because it means you've been made aware of your habit and yet have done nothing to change it. Segasaki doesn't seem to mind though, and actually matches Yoh's pace here.
Speaking of "pace" - "マイペース" or "my pace" is a loan word from English, and is a term used to describe someone who tends to do things, well, at their own pace, or in their own way, and who isn't bother by the people or goings-on around them. Usually meant as a benign, sometimes affectionate comment on someone's personality, it often brings to mind the image of someone who appears to drift during conversations, who might be a little "slow" in social interactions, or who physically lags behind the group. It can have negative connotations, because it means the group needs to make concessions for this person (like looking for them when they've wondered off). Yoh is the epitome of someone who is "my pace", and I'm very sure that the emphasis on his slow walking is not just a peculiar quirk of his character, it's an intentional part of the character design to show how Yoh is different.
S: *You... what's your name?
Y: Ah, I'm called Yoh. Um... written with the character for "leaf"
S: Hmm~ Yoh-kun huh..
Y: Yes
*Segasaki uses the polite pronoun 君 (kimi) to refer to Yoh here, as opposed to the rougher お前 (omae) that he now uses in the present day.
That little action Yoh does whilst saying "leaf" is him drawing out the kanji character for his name. It's quite common to tell someone which character is used to write your name, because the characters usually mean something, and it helps others to remember. Strictly speaking, Yoh really should be introducing his full name here, but judging by how he's been fiddling with the plastic bag, he's probably just too nervous to realize.
S: I'm
Y: Mizuki...san
S: Why do you know that?
Y: Ah... that's what.. you were called (by them) so...
S: You listen closely don't you
Y: Ahh.. yea...
Nice save 😂First of all, it's extremely unusual to jump straight to using someone's first name instead of their family name (unless you're still a kid), let alone doing it to an upper classman, though Yoh does manage to tack on the polite suffix "-san" at the back. It's the verbal equivalent of stepping right into someone's personal space and touching their bag or something and then being all "er there was something there...". It's just weird and borderline inappropriate 😂 The fact that Segasaki doesn't scold him for taking such a liberty, or show any sign that he appears weirded out by it (in fact, he actually goes along with it!) tells us that Segasaki is a very kind (yasashii would be the right term here, the same term that appears at the end of this episode) or at least a very tolerant individual though I'd also like to think he just finds Yoh's strange ways a little cute too.
Segasaki's tone changes here to a more serious one - all he does is stress the final syllables of the word "fun" to indicate he's asking a question, instead of adding any end particles that might give more context, or that might soften the tone. The topic switch is a little sudden, which is why Yoh seems a bit confused. It doesn't help that the words are a little ambiguous - it literally translates to "now, fun?" - except the Japanese word for "now" is often used to mean "just now" as well, because the Japanese concept of time is not quite as linear as it is in West. "Now" doesn't just refer to "this current exact second we are in", it extends from whenever the "current activity" began right up to "this current exact second" - the key is figuring out what the current activity is 😅. Because Segasaki jumps into this topic so suddenly, and without much contextual cues, Yoh can't quite tell whether he means now, as in them walking together, or now, as in, the whole being sent on an errand thing, which is why Segasaki clarifies in the next sentence:
S: Being hassled, and sent on errands?
Y: Oh...
S: So?
Y: No, it... isn't fun.
Segasaki watches Yoh closely whilst he waits for the answer to his question. This is Segasaki checking that Yoh knows he's being bullied, and it's also permission to talk about the topic. Once he confirms that Yoh does know what's happening, he looks away again.
The exchange tells us a lot about Segasaki's character, because often, the reason why bullying goes on for so long is that no one is willing to talk about it. Everyone knows what's going on, but no one acknowledges it. The fact that Segasaki jumps straight into it hints to Yoh that he doesn't agree with what his "friends" are doing (whether Yoh catches that hint or not is a different story). It also tells us, the audience, that he isn't afraid to speak up about things he disagrees with (similar to how he spoke up for Yoh when Yoh was sketching in the cafeteria) - but not to the extent that he'll do something which threatens the harmony of the group outright. This is tatemae/honne, which I talked about briefly in the amae post as well, and linked to this street interview video for real life examples. In short, tatemae is your ability to avoid conflict and smooth over group interactions, and is seen as an essential and positive trait. Segasaki is very good at this, even at this stage in his life, which is part of why he is so well-liked.
Y: What about Mizuki-san?
S: Me?
Y: Yes
S: I'm not having fun at all
S: It's a secret, yea?
Y: Yes
This is cute, and tells us about Yoh's character too. Firstly, he's still persisting in his use of "Mizuki-san", though he's being really tentative about it, like he's testing whether or not it's okay. Secondly, he's actually asking Segasaki directly to confirm his stand on what his "friends" are doing. Is this Yoh being daring, or just his slightly awkward, somewhat tactless self? I couldn't tell you 🤣 It's likely a bit of both.
In response, you can hear the surprise in Segasaki's voice, but he doesn't hesitate to detach himself from the actions of the group. The way he invites Yoh into his group here, by acting as if he's let Yoh in on a secret, is very charming obviously, and reminds me somewhat of how in Ep 4, he suddenly drops to "Kanami-san" when talking to Man-san too. This again fits with how his "public mode" has been consistently portrayed thus far - nice, charming, polite, good-looking, and obviously popular (Ep 3, the girls in the cafe at the back, Ep 4, the way he talks to Man-san, this Ep, where he's even been proposed to).
Guy: 俺の水がきたかな?
Red: あいつ覚えてるかな
Guy: 確かに 待たせたな
S: ごめん 葉くんお腹痛いんだって だから連れて帰るわ はい
Girl: 瑞貴まで帰らなくてもいいんじゃん
S: しんどいのに 一人すんのかわいそうでしょ*
S: じゃあ またね また
S: 行こう
Red: 優しいな** 瑞貴
Girl: でも 帰っちゃったよ
Guy: Is my water coming?
Red: Will that guy remember?
Guy: Good point, he's really made us wait
S: Sorry! Yoh says he's got a stomachache, so I'm gonna take him home. Here!
Girl: Huh? But it's not like Mizuki you have to go too right?
S: Leaving him all by himself right when he's having a hard time - wouldn't you feel bad for him?*
S: So, see you guys later, 'kay! Bye!
S: Let's go
Red: Mizuki's really kind** isn't he?
Girl: But, he's leaving you know!
*Segasaki does a very small switch up to the polite form here, as he takes the moral high ground by reminding the girl that as Yoh's senior, they have an obligation to take care of him when he's unwell. He's still friendly about it though.
**優しい (yasashii) - kind. This word pops up a lot to describe Segasaki, we'll talk about it at the end of this episode.
Y: あの いいんですか?
S: あそこ戻りたかった?
Y: いえ
Y: Um... is this okay?
S: You wanted to go back there?
Y: No
Y: いつも 友達に囲まれてるこの人が
なんでこうして 俺と一緒に歩いてるのかわからなくて
不思議だった
Y: This person, whose friends were always surrounding him...
I just couldn't understand why he'd walk together with me like this
It was a mystery to me.
Y: あの顔が 信じられないほど近くにあった
耳元に届いた声の響きまで 良いものであることに
気づいてしまった
Y: That face was... so close to me I could scarcely believe it
And it dawned on me then
How wonderfully pleasing
Even the notes of his voice drifting pass my ears sounded
The scene in the library I've included right at the top, but I'm going to add the conversation that happens during Yoh's monologue, since the subs have them sort of mixed in.
S: 葉
S: 何してんの?
Y: え?えと、あの、本を探せて...
S: この本面白いよ
Y: え?
Y: ありがとうございます
S: また感想教えて
Y: はい
S: Yoh
S: What're you doing?
Y: Eh! Um, ah.. I'm looking for a book... (inaudible)
S: This book is interesting
Y: Eh?
Y: Thank you very much
S: Tell me your thoughts on it next time
Y: Yes
Segasaki's already dropped the polite suffix "-kun" behind Yoh's name here, and doesn't actually bother to let Yoh finish saying thank you before he tells him to report back about the book. Yoh on the other hand, is still using the full, formal and polite version of thank you, and answers him properly. Segasaki's taken the initiative to get closer to Yoh - he's already speaking to him like how he does in the present day (just, not roughly), but Yoh hasn't gotten comfortable enough yet to drop the formalities - or, he simply may not be sure if he can.
Navigating formalities and when to drop them is tricky, and requires some degree of social intuition. Generally speaking, Segasaki dropping a speech level should be a sign that it might be okay for Yoh to drop as well (not to the same level of course, just a little less formal) - but given how Yoh sees them as living in different worlds, and how fearful he is of being hated, it's unlikely that he'd want to touch the status quo.
Y: あの人の気持ち?
Y: That person's feelings?
Yoh's pretty much stuck to the phrase "that person" when referring to Segasaki this whole episode, even during his flashback. He tends to do this when he's feeling some distance between them (like in Ep 2).
On screen messages:
Y: What is Kintsuba?
S: You don't even know what Kintsuba is?
Y: I'm sorry
[Yesterday]
S: I'll be back late today
Y: Understood
[Today]
(unread)
S: Just give the editor some kind of excuse, and come back right now
A: 随分 追い込まれてたねぇ
Y: 気持ちを言葉にするとか あんまりしたことなくて
Y: 他人の気持ちなんて なおさら
A: You've pretty much been cornered, huh?*
Y: Putting feelings into words and all... I've never really done that myself...
Y: Let alone (doing that for) another person's feelings.
*This is in reference to Man-san asking Yoh to write out Segasaki's feelings
A: めちゃくちゃにしてやる, めちゃくちゃにして..x10
A: Gonna mess you up, mess you up... x 10
Yes, this does sound like a line straight out of a bad Jp AV 🤣🤣. I mean, we're talking about scenes from Man-san's manga right? That they had to mosaic out? 🤣🤣
Now you know why Segasaki is pissed.
S: 可奈美さんも一緒に仕事してるんですか?
M: すみません!瀬ケ崎さんにご報告もせずに進めてしまって
S: いや、可奈美さんのせいじゃないですよ
S: Kanami-san, are you also doing your work together with him?
M: I apologize! We ended up moving forward without even alerting you about it!
S: No, it's not your fault, Kanami-san
You can tell Segasaki has misunderstood here - he thinks Man-san has also been called to work at this Editor's place, and is completely not listening to what she has said, hence her ?? reaction 🤣
S: あ、すみません
急用ができてしまったので葉を迎えに来ました
S: Ah, I apologize
An urgent matter arose, and so I've come to pick Yoh up.
Segasaki's being quite formal here, but this is not the way to be polite. The "proper" way to request leave to go home early on behalf of someone else would be to first, apologize specifically for the disruption, introduce yourself and your relation to that person, apologize that an urgent matter has come up, regrettably but firmly insist that said person must return home immediately on pain of death, apologize again for all the trouble caused, promise to make up for it, humbly ask for understanding, and then apologize your way out the door.
So yes, despite the polite word forms this is quite rude, and is so far removed from Segasaki's usual "public mode" that it cracks me up. Segasaki's composure is unravelling by the second in these next few scenes - he is pissed and absolutely does.not.give.a.shit. 🤣
From right to left:
S: So, this bastard is the famed Editor huh...
S: Don't you dare try to deceive and pull tricks on Yoh!
S: The hell you doing touching him like that so freely!!
A: Who (is this)?
The language gets progressively ruder the more the speech bubbles get pointy and the larger the font gets🤣🤣
M: 瀬ケ崎さん やっぱ強いわ~
M: Segasaki-san really has a strong presence after all~
Y: 黙っててごめんなさい*
S: あのさ
Y: はい
S: ああいうのがいいわけ?
Y: え?
S: 俺より あの男のどこがいいわけ?
Y: I'm sorry for keeping this from you!*
S: Tell me
Y: Yes
S: Is that what you like?
Y: Huh?
S: Compared to me, just how is that guy better?
*Yoh uses the full but informal version of "sorry" here - gomen nasai. Making a note of this here so I can come back to it in one of the analysis posts.
Y: え、いや
Y: 比べるものじゃないと思うけど。。
S: あるんだろうが 俺より いいところが
S: まあ、納得する理由がない限り俺は認めねえけどな
Y: 強いて言えば 優しいかな*
Y: 人の話を ちゃんとじっくり聞いてくれるし
Y: Um, no...
Y: I don't think it's something that can be compared...
S: There is something, isn't there? Some way in which he's better than me
S: Though, unless you give me something I think is reasonable I won't accept it
Y: Well if I had to say something then... maybe, he's kind?*
Y: I mean, he listens carefully and attentively to what someone has to say...
*優しい (yasashii) - often translated as "kind", it encompasses the ideas of "caring", "tenderness", "thoughtful/considerate", "warm/gentle". It's often a trait people say they look for in their significant other.
This word has come up often to describe Segasaki - in Ep 2, Segasaki uses it to describe himself, in Ep 3, Yoh uses it to describe Segasaki's voice, and of course here in Ep 6, red shirt uses it to describe Segasaki again. Even when the word isn't said out loud, a lot of Segasaki's actions would fit this word - In Ep 2, when he picks up after Yoh and comforts him during their not-argument. In Ep 3, when he passes Yoh his gift, and implies there's nothing to be sorry for. In Ep 4, the way he coaxes Yoh. In Ep 5, when he takes care of Yoh. In Ep 6, he speaks up for Yoh in the cafeteria when he doesn't have to, when he goes to help Yoh. The irony of this moment is that Segasaki puts in a lot of effort and probably does pride himself in being yasashii, and he listens to Yoh better than Yoh listens to himself, and yet he hears from Yoh that he isn't yasashii or attentive, which explains the pained expression on his face.
S: あ、そう
S: 俺先行くわ*
S: Oh, is that so?
S: I'm going ahead then*
*わ (wa) - this ending particle puts emphasizes one's statement, but is not one that Segasaki usually uses. It's less forceful that his usual speech, because he's quite hurt by Yoh's statements.
Y: かばんに入ってたやつ 戻しといてから
Y: The thing that was inside my bag, I put it back so...
The way Yoh ends this sentence leaves room for a follow up - it's an invitation to continue the conversation, which we actually have not seen him do with Segasaki, and that's why he looks so dejected when Segasaki rejects that invitation by walking away.
Though it's been hinted at throughout the show, Ep 6 is where we get confirmation that Yoh's just never quite fit in with the crowd, and that Segasaki has always been in the center of it. The stark difference explains why Yoh is so afraid that one day he will do something to make Segasaki hate him, and why he reflexively rejects the idea that Segasaki could possibly love him.
This episode is painful, for both of them. For Yoh, because from the intensity of his monologues, we finally get a sense of how big a presence Segasaki is to him, and therefore, how devastating it would be to lose him. For Segasaki, because for all that he can read Yoh, for all that he has done to try and reassure Yoh of his love, he still cannot make Yoh see, cannot make Yoh hear.
"If he ended up hating me then I felt like I might die."
It is precisely Yoh's love for Segasaki that makes Yoh fear the possibility of losing him, and it is that fear that blinds, deafens and mutes Yoh to the very thing he hopes for. And it is in trying to protect himself, that he inadvertently hurts the very person he loves so much.
Lucky color chips enhance elements of luck such as upping your chance of getting items. It also can increase the chance of a Lucky Bomb dropping from defeated enemies, which can cause large explosive chains when you have multiple Lucky color chips in your Palette.
Hot on the indie scene, Riot Act is making a lot of noise! The new side project of popular guitarist, Kiki from C-Side, is rocking the Splatlands. Their striking melodies add a capricious air to the deep and edgy guitar riffs Kiki is known for!
SplatoonJP:
インディーズから突然頭角を現したバンド、O.C.K(オーシケ)。
バンカラを代表するC-Sideのギタリスト、キクラが立ち上げた別プロジェクトだ。
重厚かつエッジーなギターはそのままに、気まぐれともいえるほど目まぐるしく展開する曲調は鮮烈。
バトルに新たな色を添えることうけあいだ。
SplatoonNA:
No Plan Survives is Riot Act's new song feat. violinist Finn Feeder. "We wanted to play as freely as possible," said the band, and while both artists brought their own unique styles, they somehow came together harmoniously in this new track!
(no English titled YouTube video)
SplatoonJP:
バイオリニストのフィン・ボトムをゲストに迎えた「No Plan Survives」では、いくつものメロディーが交錯する。
a description in the files exists for a weapon called Sharktooth Curved Sword:
Unique curved sword, notched like a shark's tooth.
Stubborn bloodstains cling to the blade, which was
once used to cut the horns from countless Omen.
鮫の歯の様なギザギザの刀身が特徴の曲剣
かつて、忌み子たちの角を幾度となく斬り落としたためか
その刃には拭いても落ちない血がこびりついている
it's listed right after the Scavenger's Curved Sword, has a similar description (in english at least), and there's an icon for a weapon that looks identical to Scavenger's Curved Sword but is listed as a separate item (and the icons are slightly different, though the weapon is the same), so i think that saying it's the Sharktooth Curved Sword is a reasonable guess
Vocab
史跡 (しせき)historic landmark
小田原 (おだわら)Odawara
城跡 (しろあと)castle site
二の丸(にのまる)outer citadel
堀 (ほり)moat
将軍 (しょうぐん)shogun
家光 (いえみつ)(Tokugawa) Iemitsu
乳母 (うぼ)wet nurse
春日局 (かすがのつぼね)Lady Kasuga
稲葉正勝 (いなば・まさかつ)Inaba Masakatsu
寛永 (かんえい)Kan’ei era
城主 (じょうしゅ)lord of a castle
大規模 (だいきぼ)large scale
工事 (こうじ)construction work
石垣 (いしがき)stone wall
備える (そなえる) to prepare for
近世 (きんせい)early modern period(from the end of Azuchi-Momoyama period to the end of the Edo period)
城郭 (じょうかく)castle, citadel, fortress
整備 (せいび)maintenance
本丸 (ほんまる)inner citadel
幅 (はば)width, breadth
常磐 (ときわ)Tokiwa
木橋 (もっきょう)wooden bridge
曲輪 (くるわ)(refers to things both inside and outside of the castle grounds (incl. the walls, moat, (etc.)
関東大震災 (かんとうだいしんさい)Great Kanto Earthquake of 1923
復旧 (ふっきゅう)restoration
なお furthermore
埋め立てる (うめたてる)to fill up, reclaim
保勝 (ほしょう)preservation of a place of scenic beauty
残す (のこす)to leave undone, not finish
文久 (ぶんきゅう)Bunkyu era (2.19.1861-2.20.1864)
絵葉書 (えはがき)picture postcard
御用邸 (ごようてい)imperial villa
三の丸 (さんまる)outermost region of the castle
大手筋 (おおですじ)large-scale operators
正規 (せいき)regular, normal
登城 (とじょう)attendance at a castle
寛文 (かんぶん)Kanbun era (4.25.1661-9/21/1673)
枡形 (ますがた)rectangular space between the inner and outer gates of a castle (where troops can gather)
改修 (かいしゅう)repair, improvement
存続 (そんぞく)continuance
土塀 (とべい)earthen wall
控柱 (ひかえばしら)secondary pillars
備える (そなえる)to furnish/equip with, install
高麗門 (こうらいもん)Koraimon, a style of gate architecture that consists of a tiled gabled roof with two pillars and two smaller roofs over the 控柱
冠木門 (かぶきもん)Kabukimon, a gate in a wall formed by two square posts and a horizontal beam
から成る (からなる)to consist of, be composed of
主部 (しゅぶ)main/principal part
表門 (おもてもん)front gate
入母屋造 (いりもやづくり)Irimoya, a building with a hipped, gabled roof
瓦葺 (かわらぶき)tile roofing
櫓門 (やぐらもん)Yaguramon, a gate with a tower/turret on top
渡櫓 (わたるやぐら)a turret built on top of a stone wall
銅 (どう)copper
鋲 (びょう)rivet
勢溜 (せいがまり)a place where troops can gather and prepare
突出部 (とっしゅつぶ)extrusion, overhang
設ける (もうける)to prepare, provide
住吉橋 (すみよしばし)Sumiyoshi Bridge
据える (すえる)to place (in position), to lay (foundation)
https://tetsugakunomichi.jp/about.html (defines 保勝 as 景勝地の保全)
“House in Shukugawa” is located in Nishinomiya City, Hyogo Prefecture, on a compact flagpole-shaped lot surrounded on all sides by two-story neighboring houses.
The site conditions made it difficult to open the house to the outside for privacy reasons, so we aimed to create an independent world for the client on the inside.
The "moderately centripetal plane" and the "dome with a large volume" give the space an inclusive feeling, so that even in a closed box, the client does not feel cramped, but can enjoy the beautiful greenery and light while living comfortably. The house was designed to be comfortable while loving beautiful greenery and light, without feeling cramped in a closed box.
Located in Nishinomiya City, Hyogo Prefecture, the surroundings along the Shukugawa River are quiet, with abundant nature and a long-established residential area. Due to the high value of land and the relatively high unit price per tsubo, there are many areas where land is densely subdivided into smaller lots.
The site was a compact, flagpole-shaped lot surrounded on all sides by two-story neighboring houses. These conditions were by no means good. However, the client purchased the lot because of its good surrounding environment and the fact that it was in an area that he had grown familiar with since childhood.
⚪︎Requests
The ideal living conditions and requests we recieved from the client can be organized into the following five categories.
To be able to feel nature (greenery, light, wind) even inside the house
To be able to value "hygge" (Danish word meaning "comfortable space" or "enjoyable time") while ensuring privacy
To be able to feel light and shade sensitively in the spirit of " In Praise of Shadows(Yin-Ei Raisan)" and the same goes for the lighting design
The entire space is connected and the spatial volume is adjusted in a variety of uses
Timeless design that can be cherished for a long time
Based on these themes and the site conditions, the architectural form was studied.
⚪︎Design concept
The site conditions made it difficult to open the house to the outside for privacy reasons, so we aimed to create an independent world within the house in line with the client's preferences. Many of the interior images they shared with us had a European feel, and we decided to incorporate these elements into the design.
First, the footprint of the building was set as large as possible in relation to the site, and it was designed to be boxy and closed to the outside. To allow the interior to experience nature and the four seasons, a courtyard was placed in the north corner, where it is relatively easy to secure lighting. The hall (living and dining room), kitchen, and other active spaces are located around the courtyard. Rooms for individual rest, such as bedrooms and bathrooms, were kept to the minimum necessary size and placed on the second floor. (The storage furniture in the bedroom is movable in order to accommodate changes in usage.)
The hall, the most distinctive feature of this house, was intended to be a space that gently envelops time with family and close friends without feeling cramped in a house closed to the outside. The hall has a moderately centripetal plane that creates a sense of harmony, and a large dome-shaped volume that ensures a cozy atmosphere even when people gather together, giving the space a sense of inclusiveness.
In contrast to the completely private space on the second floor, the first floor has a semi-public atmosphere even though it is a house, creating a sense of change and depth within the narrow box. The tiled floor, the dining table that resembles a terrace in an alley, the balcony-like landing that protrudes into the atrium, and the slightly austere atmosphere created by the dome and symbolic top light all work together to create the atmosphere of the ground floor.
In terms of lighting, it is important not only to have brightness, but also to have a sense of relative brightness. While minimizing the openings in the hall to lower the overall illumination level, we organized the sequence of brightness so that the light falling on the courtyard would be perceived as beautiful as possible. The walls and ceiling are finished in a uniform light reddish-brown plaster, which allows the warmth of the light to be felt while amplifying the brightness of the space.
In terms of spatial manipulation, the soft curvature of the outer courtyard wall corners, the seamless plastered dome ceiling, and the low ceiling height of the first floor in contrast to the dome create the illusion of distance and visual expansion in a compact space.
⚪︎Interior Environment
A comfortable thermal environment is also essential for creating a cozy space. As the entire building is compact and gently connected, the volume can be efficiently heated in winter by floor heating installed in the ground-floor hall and kitchen. The walls and ceilings are plastered (with a Marble Feel) throughout to enhance the building's own humidity control.
The ventilation system is "Class 1 Ventilation*1. The ventilation system uses a total heat exchange type ventilation fan (ondaless) with a temperature exchange efficiency of 92%, which allows ventilation without compromising indoor temperature and humidity during air supply and exhaust, resulting in comfort and reduced heating and cooling loads.
The insulation is of the sprayed wooden type, which is more airtight and has better moisture permeability than ordinary board-type insulation. Low-E double-glazing glass with an argon gas filling are used to enhance thermal insulation.
*1 "Type 1 Ventilation". A ventilation method in which both air supply and exhaust are done by a mechanical ventilator.
⚪︎Structural Planning
Tosa wood from Kochi Prefecture known for its high strength, were used for the structural members of the wooden frame. Tosa cedar was used for the upper frame, and Tosa cypress was used for the foundation because of its higher strength and durability. The construction company purchased these materials directly from Kochi Prefecture, ensuring stable quality and reducing costs.
⚪︎Landscaping plan
The courtyard, an important element of the house, is designed with a mix of trees that reflect the light and wind. Multiple layers, from undergrowth such as moss and ferns to landscape stones and medium height trees, create a compact yet deep landscape. The compactness of the space also means that the plants are close to people, allowing the users to feel the weather and the changing seasons in their daily lives. The cobblestone pavement enables the use of a terrace-like space, where one can casually step outside for a light meal when the weather is nice. We aimed to bring the richness of loving plants and trees into people's lives.
The approach to the site is made up of tan-brown granite, which is boldly pulled into the entrance floor of the house to create a continuous line. Since it is a narrow passageway between neighboring properties, we created an elaborate finish to give visitors a sense of anticipation of what lies ahead. The use of stone paving also directs visitors' attention to their feet, helping to create a sense of openness in the hall atrium.
⚪︎Lighting Plan
The base lighting is not too bright, and the presence of the fixtures themselves is minimized as much as possible. In particular, the lighting that enhances the plants in the courtyard illuminates from a high position, like moonlight, to prevent reflections on the glass and to express the natural beauty of the plants. In the hall, lights were installed in the air conditioner niche avoiding the exposure of fixtures on the ceiling surface, so as not to spoil the abstractness of the space.
On the other hand, at the place where people are welcomed in or stay (entrance, dining room, living room, and restroom), lighting with a textured presence is placed to contribute to the interior design and accentuate the space.
⚪︎Summary
In an environment where neighboring houses are densely packed, we were able to build a world for the residents by separating the interior spaces from their surroundings. The client spends his busy days at work, but during his time here, he wants to forget his work, surround himself with his favorite things, and spend truly restful moments with his family and friends. We hope that daily life in a house that heals both body and soul will be a source of daily vitality. We hope that this home will be a vessel to support such a lifestyle.
⚪︎Property Information
Client|Couple
Total floor area|70.10m2
Building area|42.56m2
1floor area|39.59m2
2floor area|30.51m2
Location|Nishinomiya-shi, Hyogo, Japan
Zoning|Article 22 zone
Structure|Wooden 2 stories
Exterior|Galvalume steel sheet, sprayed with Jolipad