#225の日

[herbiemikeadamski]

. (^o^)／おはよー(＾▽＾)ｺﾞｻﾞｲﾏｰｽ(^_-)-☆. . . 2月25日（土）　#先勝(甲寅)　旧暦 2/6　月齢 4.8　年始から56日目にあたり、年末まであと309日（閏年では310日）です。 . . 朝は希望に起き⤴️昼は努力に生き💪 夜を感謝に眠ろう😪💤夜が来ない 朝はありませんし、朝が来ない夜 はない💦睡眠は明日を迎える為の ☀️未来へのｽﾀｰﾄです🏃‍♂💦 でお馴染みのRascalでございます😅. . 口癖の様に母親は言ってました🤚 「親孝行をして思い立っても」 「時、既に遅しで親はいつまでも」 「生きていないのだよ...」若き頃の 私は言葉の深い意味を把握してなく 「そりゃどうだろよ」的に聞き流し てたのですが、実際、私がその立場 になって本当にそう思い悔やみきれ ないですよ⤵️確かに母親の父親は 50代で母親は60代でしたので私の 母親はまだ40代にもなって居なか ったのかと思うと早かったんだなぁ なんて今に思います🤚そんな私も 父親が逝ってから19年も経つので すわ💦母親は、その後の8年後で すので11年も経つんですね😓💦 通りで歳取るわな😅💦親には常 に迷惑かけて、よく面倒みてくれて 居たのに、何もしてあげられなかっ た⤵️って二人が居なくなってから も、何処かで支えになってくれてる 気がするんですよね🤚って事で💦 今日は仕事日ﾃﾞｽ🤣😆🤣昨今は 厳しい世相ですから、私みたいのは いつでも首切られてもって事もある ので、ありがたいですよね🙏感謝💕 . 今日一日どなた様も💁‍お体ご自愛 なさって❤️お過ごし下さいませ🙋‍ ﾓｳ!頑張るしか✋はない！ ｶﾞﾝﾊﾞﾘﾏｼｮｳ＼(^O^)／ ﾜｰｲ! ✨本日もご安全に参りましょう✌️ . . ■今日は何の日■. #親に感謝の気持ちを伝える日. 　大阪府大阪市に本社を置き、「還暦祝い本舗」「ﾌﾟﾚｾﾞﾝﾄ本舗」「手元供養本舗」などのｻｲﾄでﾒﾓﾘｱﾙｷﾞﾌﾄの販売を手がける株式会社ﾎﾞﾝｽﾞｺﾈｸﾄが制定。 　日頃は面と向かって言えない親への感謝の気持ちをきちんと伝えるきっかけの日としてもらうのが目的。 　日付は2と25の2が親と子の双方を、25がﾆｺﾆｺ笑顔を表していることから。 . . #先勝（ｻｷｶﾞﾁ、ｾﾝｶﾁ、ｾﾝｼｮｳ）. 陰陽道(おんみょうどう)の六曜日の一つ。 この日は勝負ごと、訴訟や急用などに運がよいとされ、早い時刻ほど良くとされ、午後は凶になるなどの俗信がある。 . #八専（ﾊｯｾﾝ）. 　選日の一つ。 　日の干支が壬子から癸亥の間の12日間の中に干支共に同じ五行となる物が壬子、甲寅、乙卯、丁巳、己未、庚申、辛酉、癸亥と、8日あるために八専と総称されている。 　十干と十二支に五行を割り当てると、干支の気が重なる日が全部で12日ある。 . #凶会日（ｸｴﾆﾁ）. 　暦注の一。 　干支 (ｴﾄ) の組み合わせから、ある事柄をするのに最凶であるとされる日。 　陰と陽の調和が崩れやすいため、万事に忌むべき日で、この日に吉事・慶事を行うことは凶とされる。 . #復日（ﾌｸﾆﾁ）. 　重日同様、吉凶共に重なる日。 　吉事は吉が重なり、凶事は凶が重なる日です。 　結婚は再婚につながることから凶とされています。 . . #深良用水完成の日（#箱根用水完成の日）. #未知との遭遇. #ひざ関節の日. #ヱビスの日. #夕刊フジ創刊記念日. #ヌヌコ記念日. #225の日. #国立大2次試験（前期）. . . #天神の縁日（毎月25日）. #プリンの日（毎月25日）. #とちぎのいちごの日. . . #エドゥさ革命記念日（ﾌｨﾘﾋﾟﾝ）. #ソビエト占領記念日（ｼﾞｮｰｼﾞｱ）. #クウェートナショナルデー. #新神学者ｼﾒｵﾝ祭（#正教会）. . . ■本日の成句■. #蹴る馬も乗り手次第（ｹﾙｳﾏﾓﾉﾘﾃｼﾀﾞｲ）. 【解説】 人を蹴る癖のある暴れ馬でも、乗る人が上手く調教すれば大人しくなる事から。 乱暴で扱いにくいような者でも、上手い扱い方はあると云う事の例え。 . . 1962(昭和37)年2月25日(日)先負.　#寺脇康文　（#てらわきやすふみ）　【俳優・ﾀﾚﾝﾄ】　〔大阪府大阪市〕. . . (品川駅) https://www.instagram.com/p/CpDyyhhBmyJebcXKgUQmJtS_XFMYIgUvkG_b_I0/?igshid=NGJjMDIxMWI=

#先勝 #親に感謝の気持ちを伝える日 #八専 #凶会日 #復日 #深良用水完成の日 #箱根用水完成の日 #未知との遭遇 #ひざ関節の日 #ヱビスの日 #夕刊フジ創刊記念日 #ヌヌコ記念日 #225の日 #国立大2次試験 #天神の縁日 #プリンの日 #とちぎのいちごの日 #エドゥさ革命記念日 #ソビエト占領記念日 #クウェートナショナルデー #新神学者ｼﾒｵﾝ祭 #正教会 #蹴る馬も乗り手次第 #寺脇康文 #てらわきやすふみ

[mel-the-glaceon]

JRの運賃が高いなら、チャージに相談やっ！

#art #illustration #ポケモン #モールス信号 #ケモノ #ポケ獣人 #メスケモ #アチゲータ #225系 #225系の日 #鉄道 #電車 #鉄道イラスト

[lastscenecom]

3年前の2020年3月、ある女性がヴィンテージのロレックスを購入した。 彼女はそれをザ・リアルリアルで購入し、オリジナルの箱や書類は付属していなかったものの、時計が本物であるという鑑定書をもらった。 書類がないことで少し不安を覚えたが、ストラップのサイズを直してもらうためにロレックスの店に持っていった。店ではその時計について何か言う人は誰もいなかった。 そして2023年9月、時計が止まった。 別のロレックスの店に時計を持ち込んだが、修理には4週間から6週間かかると言われた。ところが驚いたことに、そのわずか数時間後、時計の引き取り準備が整ったというメールが届く。 修理代金は1000ドル（約15万円）を超えるだろうという彼女の予想に反して、0ドルだった。 ロレックス店の担当者は、この時計にはアフターマーケットの部品が使われているため、修理はできないと言った。 「担当者の顔を見て、時計が偽物なのだとわかった」 彼女は時計をザ・リアルリアルに戻し、そこで鑑定人はその時計がスーパーコピーであると認めた。 ザ・リアルリアルは、エリザベスが時計に支払った9295ドル（約140万円）を返金することに同意したが、そこにはひとつ問題があった。 その時計は彼女が購入してから数年のあいだに数千ドル値上がりしていた。現在まったく同じ時計が、再販市場でも、またロレックス経由でも1万5000ドル（約225万円）近くで売られている。 「新品で買おうが、中古品で買おうが、その時計を買い直そうと思ったら、どうしたって5000ドル（約75万円）分の投資を失うことになる」 その上、戻ってくる9295ドル（約140万円）は、インフレのせいで3年前に使った9295ドルほどの価値はない。いずれにしても、彼女は経済的な損失を被ったのだ。

投資を強調する再販市場。購入したロレックスが偽物だった場合、資産としての評価額を請求できるのか：Luxury Briefing | DIGIDAY［日本版］

[kennak]

2023年度「新聞販売店」の倒産動向調査 　全国で新聞販売店の淘汰が続いている。2023年度（4‐3月）の「新聞販売店」の倒産は39件（前年度比56.0％増）で、1994年度以降の30年間で最多を記録した。2023年2月は10件発生し、2014年5月と並んで月間最多を記録した。 　一般社団法人日本新聞協会が公表するデータ（各年10月時点）によれば、ネット媒体の情報発信が拡大し、2023年の新聞発行部数は約2,859万部（前年比7.3％減）と、1年前に比べ約225万部減少している。こうした構造的な問題に加え、配送にかかる燃料費、人件費などのコストアップが経営を直撃。コロナ禍で折り込み広告収入も落ち込み、新聞社からの補助金やゼロゼロ融資などの資金繰り支援で窮状をしのいだ新聞販売店も多い。購読者数が伸び悩み、専売店から複合店、合売店への業態変更などの対応を迫られるなか、支援効果の薄れとともに新聞販売店の倒産、廃業は増勢をたどることが懸念される。 ※ 本調査は、日本産業分類の「新聞小売業」の倒産（負債1,000万円以上）を集計、分析した。 新聞小売業の倒産が39件　年度では過去30年で最多 　2023年度の新聞販売店の倒産は39件（前年度比56.0％増）で、年度最多だった2014年度の30件を上回って30年間で過去最多を記録した。倒産形態は39件すべてが消滅型の「破産」だった。

2023年度「新聞販売店」倒産 過去最多の39件　発行部数の減少に、物価高・人手不足が追い打ち | TSRデータインサイト | 東京商工リサーチ

[project-sekai-updates]

「プロジェクトセカイ」の日常を描いた

4コママンガを公開✨

第225話「サプライズバースデー」🎂

[Translation by @/lily_mikumagic]

#mod minori #official #project sekai #jp sekai #source: twitter

[kishinaito]

毎日投稿225日目

イラストではないのですが、創作物ということで…

推しぬいを作ってディズニーいってました！

りんちゃんはお友達へのサプライズ誕プレ🎂

写真が捗って楽しかった…！

#毎日投稿 #推しぬい #ヒプステ #谷ケ崎伊吹 #有馬正弦 #阿久根燐童 #D4 #ibuki yagasaki #seigen arima #rindo akune #rule the stage

[c232akira]

GWの最終日に本気のStuff Session再び！ Stuffのサウンド、グルーブが大きなうねりとなってガールトークを包み込みます。ツインギターじゃなきゃ出来ないと思っていたあの曲にもトライします。皆様と音楽の素晴らしさを分かち合い、身も心も踊り出すようなライブにしたいと思っておりますので、どうぞよろしくお願いいたします。 ♪GT Presents「STUFF」Session 小野塚 晃(p.key)　養父 貴(g)　納 浩一(b)　則竹 裕之(ds) 5月6日(月・祝)　水戸市 Girl Talk　SHOWTIMES:17:00/18:45 OPEN:16:00 料金 @ ¥5,500+2オーダー 問 @ ガールトーク 029-225-0050

[omiznewsviews]

公職選挙法225条に「選挙の自由妨害罪」というものがあり、候補者に暴行を加えたり、交通や集会、演説を妨げたりした場合には4年以下の懲役もしくは禁錮、または100万円以下の罰金と定められている。 警視庁が18日に出した公選法違反の警告は、この条文によるものと見られる。 一方でつばさの党の候補者らは警告を出された後も選挙妨害を繰り返しており、それに対して警察も対応に苦慮する事態が続いている。 というのも、この選挙自体につばさの党の根本氏が立候補しているため、彼らは候補者や応援弁士による演説として拡声器などを使うことが認められているのだ。 　 それでも他候補の演説を妨害すれば公選法違反になるのだが、警察は捜査が選挙に影響を与えないよう、選挙期間中は候補者に対する強制捜査や立件を控える傾向がある。 こうしたことも見越してか、黒川氏は警告を受けて城東警察署内でノートを投げるなど暴れまわり、その様子もYouTubeにアップしている。一般人であればすでに逮捕されていてもおかしくないのだが、候補者を出しているが故にもはや「無敵の人」となっているわけだ。滅茶苦茶である。 このような事態について、ついに国会でも議論の俎上に上がった。 22日、衆議院予算委員会で国民民主党の田中健衆院議員が選挙妨害について「候補者の演説を聞きたい有権者の権利も奪うことになり、民主主義の危機。何らかのルールが必要だ」と取り上げ、岸田文雄首相は「何らかの対策が必要ではないか、問題意識は共有する。各党各会派で議論すべき課題だ」と答弁した。 今後、選挙妨害に対してより機動的に対応できるようにするため、公職選挙法の改正なども議題となっていくかもしれない。 現在は好き勝手な行動をとり続けているつばさの党だが、選挙が終われば警察が捜査を本格化させる可能性もある。

他候補者に「おい売国奴」拡声器で罵声、「凸」と称して迷惑行為も…東京15区で何が起きているのか - 弁護士ドットコム

[antiquity1111]

BNHA 375 Japanese to English Translation w/ Commentary Part I

奥渡島　「麗日・蛙吹 VS トガ」

Okutou Island - Uraraka & Asui vs. Toga

Tagline 1:

美しき南の島で——‼︎

At the beautiful southern island——!!

Tagline 2:

No.375 滅茶苦茶

No.375 Chaos 

滅茶苦茶 (romaji: mechakucha) translates to “chaos; disorder; confusion; mess.” Rukasu and Pikahlua opted for “mess,” but I think “chaos” better describes the feel of the chapter. “Mess” to me just sounds like someone trashed a room and now somebody has to clean it up. It sounds almost… orderly, controlled. To me, “chaos” sounds like havoc and mayhem and whirlwind action, like too much is happening all at once, everything’s moving too fast, and your head’s spinning trying to make sense of it all. Perfect.

フロッピ‼︎

= “Froppy!!”

姿を晦ます技術はミスディレクションの類！恐らくとても複雑で微細な…

= [Her] technique to hide her presence is a kind of misdirection! Perhaps it’s very complex and subtle…

姿 (romaji: sugata) means “figure; form; shape; appearance.” Because translating sugata as “appearance” could understandably give the wrong impression that Ochako is thinking about Himiko’s Quirk when she is actually thinking about her evasiveness, I translated it as “presence.”

晦ます (romaji: kuramasu) means “to conceal (oneself); to hide; to abscond” and refers to Himiko’s proficiency at seemingly disappearing, either to flee a dangerous situation or to launch a surprise attack, as she did against Curious’ associates in No.225.

Additionally, 晦ます can mean “to deceive; to dissemble; to fool,” which also applies. Himiko is highly perceptive and attuned to others’ feelings; able to accurately gauge a person’s personality, temperament, and motivations within a short time of meeting them; and demonstrates a remarkable ability to manipulate people and situations to her will, a fact All Might begrudgingly notes in No.335:

翻弄し続ける少女トガヒミコ

= “The young lady who continues to make fools of us, Himiko Toga.”

翻弄 (romaji: honrou) is a verb meaning “having at one’s mercy; trifling with; toying with; playing with (as if a joke or plaything); making sport of; making a fool of; leading around by the nose; pulling the wool over one’s eyes.” It describes a person stringing someone along, deliberately misleading them into believing a falsehood of some kind, tricking them, for personal gain. 

While we’re on the subject of Himiko’s fantastic (ongoing) manipulation of the Heroes, allow me to point something out that no one seems to have noticed or thought anything of, at least not that I’ve seen (I’ve been waiting MONTHS for somebody to mention it so I could without being jumped, but it never happened! 😭 Maybe it’s because I’ve somehow found myself on the Hero side of the fandom despite wanting to be on the Villain side of it…?). No.345 ends with a close-up of Himiko’s face showing one of the tubes of her blood-sucking equipment twisted around her pinkie finger:

On the other end, of course, is Izuku, having been yanked off course from his mission onto Okutou Island, forcing the Heroes assigned to the Sky Battlefield to struggle not to be seriously injured or killed by Shigaraki for One (rest in peace, Kacchan…) while stalling for time until his arrival. 

This illustration directly references the idiomatic expression “have (someone) wrapped around (one’s) (little) finger.”

Himiko quite literally had Izuku wrapped around her pinkie finger, pulling his strings, creating a distraction, buying time for Tomura to do irreparable damage to the Heroes and for Spinner to secure Kurogiri, advancing the Villains’ cause(s). A masterful actress, she has been deceiving the Heroes since her introduction, playing the “part” of an unfocused, “lovesick,” “boy-crazy,” somewhat airheaded adolescent.

(NOTE: THIS IS NOT AN ATTACK ON HER CHARACTER; TO THE CONTRARY, THIS IS A RECOGNITION OF HER SENSITIVITY, INCREDIBLE OBSERVATIONAL SKILLS, CREATIVITY, AND ADAPTABILITY, AND HER SOCIAL AND EMOTIONAL GIFTEDNESS. THESE ARE THE EXACT TRAITS THAT MADE IT POSSIBLE FOR HER TO SURVIVE ALONE ON THE STREETS—NO EASY FEAT—FOLLOWING HER RUNNING AWAY ON THE DAY OF HER MIDDLE SCHOOL GRADUATION AFTER ATTACKING SAITO.)

Himiko Toga is, above all, a skilled escape artist and social chameleon who learned at an early age that she would have to wear “masks” to be “accepted” and “protected” from harm. She could be “liked” or she could be herself. There was no in between. Her parents were clear that no one could ever or would ever accept and love her real “face.” Naturally, being a helpless, impressionable child who was eager to please them and desperate to feel connected to them, she believed them, internalizing the message that she is inherently unlovable, deficient, and deviant, and must hide behind false personas to avoid the pain of rejection, abandonment, vilification, and violent victimization.

あれ?

= “Huh?”

キュリオス様

= “Curious-sama!”

警察・ヒーローに追われる毎日

= Every day, I was chased by police and Heroes.

否が応にも周囲の挙動に過敏になった

= I became hypersensitive to the behavior of [people in] my surroundings, whether I liked it or not.

過敏に (romaji: kabin ni, meaning “oversensitive; nervous; thin-skinned; touchy”) is composed of the kanji for “to exceed; to surpass; to be over (indicating excess in degree or amount); too (much)” and “alert; agile; keen; sensitive.” This word describes the hypervigilance Himiko developed as a runaway evading capture by police and Heroes. 

女子高生のフリすると世間はちょっぴり易しくなった

= Pretending to be a high school girl makes the world a (very little) bit easier.

Notice that word, pretending. Why was she pretending to be something she isn’t and doesn’t identify with?

捕まらないように

= So I don’t get caught / arrested.

捕まらないように

= So I don’t get caught / arrested.

捕まらないように

= So I don’t get caught / arrested.

This aspect of Himiko’s character isn’t often discussed by fans, but she’s terrified of being detained and afraid of police and Heroes. She’s suspicious of everyone but the League of Villains, who she trusts and feels safe with. The threefold repetition of that line (“So I don’t get caught / arrested”) underscores the intensity of her anxiety and desperation to not be captured. As a result of her traumatic early childhood experiences, she became a deeply insecure and skittish person conditioned by her parents to be excessively polite, respectful, and demure, especially in her language, even when she does not particularly like or respect a person (appeasement: survival tactic common in complex trauma survivors meant to minimize the likelihood of conflict by people-pleasing and self-censorship and de-escalate conflict when it does arise by catering to the needs and demands of threatening others, restoring “peace” at the expense of one’s own needs, aka self-betrayal). She is always scanning her environment for potential threat, prepared to flee at the first sign of trouble. Nevertheless, Himiko is not weak or powerless and is not a coward. She is as much predator as she is prey (exactly like a domestic cat, actually).

The first of these screenshots is from No.225 and the second from No.348. See that wide, toothy grin of Himiko’s? That’s an example of a visual trope called the slasher smile, and it always forebodes ill intent, usually murderous. She is literally baring her fangs like a lioness moments before charging her prey. Notice also how Himiko has hidden her face behind her hands in the lower right quadrant of the second screenshot. Her face is drawn completely in shadow, impossible to read. This artistic choice implies that she is concealing more than just her face; she is being dishonest, misrepresenting her feelings and/or motives, pulling a fast one on the Heroes like she has in the past.

敵の数も減ってきた‼︎ニアハイエンドを抑えれば行ける‼︎ ヴィランのかずもへってきた‼︎ニアハイエンドをおさえればいける‼︎

= “The Villains’ (read as: enemy’s) numbers are also decreasing!! If we subdue the Near High-Ends, [we] can go!!”

This is a common occurrence in BNHA, but I do want to mention it. The kanji for this line from Gang Orca say “enemy,” but the furigana say “villain.” When kanji and their corresponding furigana do not match, kanji represent what is meant while furigana represent what is said. 

In this context, Gang Orca says “villain,” but he means “enemy.” Who cares? What’s the difference? Villains are enemies, right? The reason it is notable any time a Hero says “villain” but means “enemy” is because it speaks to an antagonistic us vs. them mentality that makes connection and compromise impossible. Real change and progress will not be made until Heroes are approaching and interacting with Villains as humans, person to person, NOT as “Heroes” and “Villains,” “allies” and “enemies.” Tomura gave a great speech about it that no one paid attention to, proving his point (https://at.tumblr.com/antiquity1111/bnha-english-vs-japanese-translation-comparison/mwc337dsnhpd). If the Heroes ever actually listened when the Villains talk, they’d know this already and this second war might have been avoided. 

この島でこいつらを制圧することが俺たちの使命だ‼︎

= “Our mission is to suppress these guys on this island!!”

こっちの数が減る程

= As our numbers decrease,

逃げられなくなってってる捉えられ始めてる

= I won’t be able to escape and will be caught.

仁くんの血液量だと30〜40分の変身が限度…

= With this volume of Jin-kun’s blood, my transformation will be limited to 30-40 minutes…

今飲んで数的有位をくつがえせても"哀れな行進"はこの離島で終わる いまのんですうてきゆういをくつがえせても"サッドマンズパレード"はこのりとうでおわる

= Even if I drink this now and overturn the numbers advantage, the “Sad Man’s (read as: Miserable) Parade” will end on this isolated island.

Here again we have a case of kanji and furigana not matching. 哀れな行進 (romaji: aware na koushin) translates to “Miserable Parade” in English, while サッドマンズパレード (romaji: saddo manzu pareedo) says “Sad Man’s Parade” in katakana. When Twice uses the Sad Man’s Parade during My Villain Academia, it is also written like this, with the kanji reading “Miserable Parade” and the furigana “Sad Man’s Parade.”

When Touya references Twice’s technique while speaking to Himiko in No.341, he calls it the 哀れな行進 (romaji: aware na koushin, or Miserable Parade) and the furigana read the same.

Take another look at these screenshots.

In the first screenshot, Twice uses the Sad Man’s Parade (mismatched kanji and furigana; read as: Miserable Parade) for the first time in-series. The kanji are written WITHOUT quotation marks: 哀れな行進. In No.357, when Himiko is contemplating her options, Sad Man’s Parade (mismatched kanji and furigana; read as: “Miserable Parade”) is written INSIDE quotation marks: “哀れな行進.” In No.341, “変身” (—> “Transform”) is written INSIDE quotation marks but 哀れな行進 (—> Miserable Parade) is written WITHOUT them. This seems inconsequential at face value, but there does seem to be a pattern to it, and where there is a pattern, there is usually a deeper meaning to be uncovered. At least in these chapters, quotation marks seem to be used around the name of a technique or Quirk only when it belongs to someone else. In the first screenshot, 哀れな行進 is NOT in quotation marks because the technique is Twice’s and its name is being called out by him. In the second screenshot, “哀れな行進” IS in quotation marks because it is Himiko, not Twice, thinking about the Miserable Parade / Sad Man’s Parade, but it does not belong to her. In the third screenshot, “変身” IS in quotation marks because it is Touya, not Himiko, who cites it, but Transform does not belong to him. Finally, in the fourth screenshot, 哀れな行進 is NOT in quotation marks, despite the technique not belonging to Touya or Himiko.

Why might this be? It’s possible that Touya is talking less about a technique than he is an event or performance the two of them will stage in honor of Twice (続けさせてやろう, romaji: tsudzukesaseteyarou, meaning “to let something continue for [someone],” as a favor to them) and for themselves commemorating the abandoned child Himiko Toga and the forgotten child Touya Todoroki. This is Himiko and Touya rising above the learned helplessness of their childhoods to reclaim their sense of agency and power to fight back, raise their voices to speak their truth even in the face of harsh criticism and repudiation, and determine their next steps on their own terms. Their Miserable Parade will be their send-off for their fallen comrade, friend, and brother. It will also be their send-off for the children that they were, an act of love by their adult selves for their child selves, an acknowledgement that they mattered and deserve to be remembered. (Remember when Touya incinerated Himiko’s childhood house for hurting her in No.341? Their Miserable Parade will be that but on a much, much bigger scale).

これまでトガヒミコの行動原理に大局的な戦術思考が用いられることはほぼなかった

= Up till now, due to Himiko Toga’s acting principles (i.e., the rationale governing how she has conducted herself), she almost never employed big-picture tactical thinking.

Because her primary concern has always been to avoid being captured, Himiko has tended to favor fleeing over fighting and so has seldom had to think through and implement battle strategies. She does not have the combat experience of some of the other characters and does not have a naturally heavy-hitting Quirk like Decay or Hellflame, but she is shrewd, flexible, and quick on her feet (literally and figuratively). Most importantly, she has been able to rely on subterfuge for her survival and has performed well enough as an actress to have not needed to apply herself beyond dissembling. Masquerading as a “normal” schoolgirl has carried her through to the present moment. But as of No.349, Himiko has grown beyond wanting and needing to hide behind the face of someone else, anyone “normal.” As of No.349, for the first time in her life, Himiko Toga does not want to be anyone but Himiko Toga. She is not running from herself anymore. She is not hiding. She is owning who she is and making no apologies for it. I suspect this development came about due to the events of No.341. It cannot be overstated how liberating and life-changing it can be to be seen, validated, unconditionally accepted, and protected, to be loved for who you are and know you are not alone.

Unconditional positive regard is defined by humanistic psychologists to mean expressing empathy, support, and acceptance to someone, regardless of what they say or do. Unlike other practitioners of his day who offered therapies like behaviorism, which were quick to confront how poor choices hurt us, psychologists like Rogers started by validating their clients’ feelings, withholding judgment, and offering support. Known as “client-centered therapy,” this treatment emphasizes the healing power of human connection. While Roger’s theory shifted the psychology landscape, it didn’t only benefit therapy seekers. According to Rogers, problematic behaviors like overeating, drinking too much, and procrastinating aren’t altered with confrontation, judgment, or punishment; they are remedied with compassion, understanding, and acceptance. In his view, people are wired for self-actualization, or the need to fulfill our potential. However, painful experiences like being bullied, shamed, or judged thwart our growth. Unconditional positive regard restores hope by showing us we are loved and accepted. From Rogers’ lens, when people feel safe, honesty follows. And being honest with ourselves and others is crucial for change. Whereas judgment and shame elicit defensiveness, acceptance fosters safety, which invites honesty and self-exploration. It’s offering the sort of grace we wish others would offer us when we fail.

Social worker and shame researcher, Dr. Brené Brown, says authenticity is “the daily practice of letting go of who we think we’re supposed to be and embracing who we are.” Rogers said authentic people are comfortable with vulnerability and approach others with openness and curiosity. In short, authenticity builds intimacy. But frequently, our authentic self is shut down by shame, judgment, and criticism. Perhaps someone once told us we were “too sensitive,” “not talkative enough,” or “too nerdy.” Or maybe we were teased for not following the crowd in some way. These messages convey that it’s not okay to be who we want to be. As a result, we’re forced to choose between living out our values and feeling rejected (usually by those we need and love most) or changing our views to fit in. Often, we’d rather ignore some aspect of ourselves than feel left out.

Until recently, Himiko had lived her life suppressing parts of herself that had been shunned and vilified by her family, her peers, and greater society, feigning (exaggerated) characteristics she believed the person she “ought to be” would have in the hope of “fitting in,” “being accepted,” and “belonging.” In No.349, she breaks her well-established pattern of self-abandonment with these declarations:

もういい

= “That’s enough.”

出久くんもお茶子ちゃんも梅雨ちゃんも大好きだけどもういいよ

= “Izuku-kun and Ochako-chan and Tsuyu-chan, although I like you very much, [I’ve had] enough [of you].”

Literally, もういいよ means “enough already.” Contextually, Himiko’s saying that her patience has worn thin and she’s grown sick of dealing with them.

Regarding “I like you very much,” the word Himiko is using is 大好き (romaji: daisuki), which is composed of the kanji for “big” (大) and “like (something, someone)” (好き). This word can be used to express a strong liking for a person or thing and does not always have romantic connotations. It can be used to say you like anything, from a particular food to your pet to a boy band to an actor to a character to any person you’re fond of, including a friend, a child, or a lover. Parents sometimes use this word to express affection for their children. There are several ways to say “I love you” in Japanese. Of them, this word has the most general use and the least intense meaning.

なりたい自分になりたいの

= “I want to be who I want to be.”

私は私が当たりまえに生きたいだけ

= “I just want to live my life in the way that is natural for me.”

ねエ? 甘くん

= Right, Jin-kun?

私はトガヒミコ

= “I am Himiko Toga.”

ヒーローはいらない

= “I don’t need a Hero / Heroes.”

だから消えてねさようなら

= “So, please disappear / die. Goodbye.”

These days, ね (romaji: ne) keeps sneaking its way into Himiko’s sentences. It’s a particle that can be used as a request for confirmation or agreement (e.g., right?; isn’t it?; doesn’t it?; don’t you?; don’t you agree? aren’t you?), to express one’s thoughts and feelings (e.g., you know; you see; I must say; I should think), to make an informal request (e.g., will you?; please), or as a filler word.

What’s interesting about it to me is that Touya has a habit of overusing this and other words with similar functions. The more he feels he is not being seen, heard, understood, and believed, the more anxious and upset he becomes and the more his speech becomes peppered with all of these awkward, unnecessary, and largely rhetorical confirmation seekers / filler words. This nervous habit of his is a verbal tic born from not being listened to, validated, and supported as a child when he tried to confide in others. (It is also evidence that the “fawn”—or people appeasing / people pleasing—survival response has been activated). He reached out to his family members for sympathy and understanding and found everyone had closed their eyes, ears, and hearts to him. He was fun to play with, sure, and oh so cool, but he wasn’t fun to be around when he was riling Enji and/or Rei up or sobbing and complaining about stuff everyone else preferred not to think about or confronting his parents about their selfishness and utter failure to be good enough parents (developmental psychology term; coined by Dr. Donald Winnicott in the 1950s) to the four children they had forced into the world and then neglected. He wasn’t fun when he was making problems, and he was always making problems. Because his pain was not met with kindness and compassion and because all anyone ever thought to say to him was “stop doing that; stop being so stubborn; do something else; play with something/someone” or “talk to someone else,” he internalized the message that he is not a person who can generally trust that he will be believed when he speaks out when he has been wronged or that he will be received warmly when he is hurt and in need of emotional support. He learned that he is not a person who can expect that others will respond to help him when he reaches out to them for comfort and protection, that he is not a person other people care to listen to and share with, that his feelings do not matter and are burdensome to others, that his word is worthless because he is.

Himiko has a similar habit of framing declaratives as suppositions and demands as requests, which is easily explained by how she was being raised by her parents to be a “good, deferential, normal” girl. She’s the kind of person who says “please stop” when she means “stop it right now” or “fuck off” because saying “stop it right now” or “fuck off” would be too forward and offensive and she must always be meek and mind her manners. Touya showed evidence of having his confirmation-seeking verbal tic as a child, but Himiko seems to have developed this habit more recently, which leads me to wonder if somewhere along the line she began unconsciously mirroring him down to how he talks, or maybe she’s feeling especially uncertain? It is uncomfortable breaking “character” to be a version of yourself—your authentic self—you’ve never been allowed to be or given yourself permission to be. It’s understandable she’d be feeling out of her element.

いやだよ！私も私の当たり前を全うする麗日お茶子として！

= “I refuse! I also live in the way that is natural for me as Ochako Uraraka!”

There is a bit of a disconnect here that I’m only noticing now. Himiko said that all she wants is to [be able to] live in the way that is natural (could also be translated as “normal; ordinary”) for her, meaning she is not currently free to be herself but she wants to be. Ochako answered as if Himiko had said that she has already been living freely in accordance with her beliefs and values and affirmed that she, too, lives in the way that is natural (could also be translated as “normal; ordinary”) for her. 

That’s the end of our detour to No.349. Let’s pick up where we left off with No.375, shall we?

そもそもココで逆転しても

= In the first place, even if [I, we] reverse [the situation] here,

戻りの船をわざわざ島に着かせてるとは考えにくい… こっちのワンチャンをわざわざしまにつかせてるとはかんがえにくい…

= it’s hard to imagine [my, our] one chance (read as: return boat) going out of its way to reach the island…

What Himiko means is that if a ship to collect the Heroes were to arrive on the island, she could escape away on it as a stowaway or Transformed, but she understands that something so convenient for her side (and ill-planned on the Heroes’ part) is not likely to happen.

分断と隔離…ヒーローはもう"仁くん"のこと知ってる？

= Division and isolation… Do the Heroes already know about Jin-kun?

I think it’s sweet that Himiko refers to Jin’s blood as if it were him. That blood is all she has left of her brother. To her, blood is life, the essence of a person. To carry Jin’s blood with her is to have Jin-kun with her always. That is why it would have meant the world to Himiko that Touya salvaged a little piece of her brother to give back to her. In a way, Touya did save Jin. Actions speak louder than words, especially for the Japanese, who strongly prefer to demonstrate their affection and devotion through generous and caring acts rather than through words. (This shying away from direct expressions of love and intimacy is so deeply ingrained in Japanese culture that it is not uncommon for husbands and wives to spend their lives together happily married and having never spoken the words “I love you”!) For Himiko, blood is a love language. Touya spoke it fluently in No.341. Something else that is interesting to consider is that Horikoshi is known to have been very intentional with his naming conventions, with basically every character’s name flagging something about their Quirk (and personality) or their arc and function in the narrative. I wrote more about this in another post on another character (= Hawks) that I’ve yet to share, but I'll go ahead and include related excerpts from that post here. Unfortunately, I've hit the screenshot cap for Part I. Here is the link to Part II: https://at.tumblr.com/antiquity1111/bnha-375-japanese-to-english-translation-w/0rytdy0l68x3.

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[kokonokakugatsu]

model shizuka photo by kokonoka kugatsu

more nude photos

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[gofancyninjaworld]

OPM Manga Update 225 Raw

#opm #manga #raw #update 225

[slowlifewithminecraft]

大したことしない日記225（激流） 激流のトライデントで遊んでいるプレイヤーさんをみて、面白そう、って思って作ってみたよ。オモシロ―ーー。

"Riptide" I saw the player who play with the trident enchanted with Riptide. It looked like fun. So I enchanted a trident with it. It's sooooo fuuun!!

一緒にマインクラフトしたい人は、マインクラフトのマルチサーバー、スローライフへどうぞ。まずは Discord へGo！ https://discord.gg/9XWK35FX

#minecraft #minecraft server #mineblr #slow life #マイクラ #マインクラフト #trident #riptide

[dvdhappycom]

CATCHEYE Vol.225 学園天国 ～りんかのソープ部～ : 夏目りんか

CATCHEYE Vol.225 学園天国 ～りんかのソープ部～ : 夏目りんか スタジオ： CATCHEYE 更新日： 2023/09/19 時間： 122分 女優： 夏目りんか スレンダーで可愛くって、今どき珍しいジャングルマンコの持ち主・夏目りんかちゃんがソープに挑戦です。まずはから、丁寧な！サクッと口内を促してくれました。ローションをたっぷりと制服の上から塗ってヌルヌルローションプレイを楽しみ、手マンでりんかちゃんのからはチャプチャプっとすごい音を立てて！たっぷりと絡み合うセックスも見ものです！りんかちゃんのブルマ姿や下乳がみえそうなセーラー服からミニスカート、ブレザーなどの可愛いコスプレ七変化もお楽しみくださいー！ ***********************************

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[kennak]

能登半島地震で被災された障害のある方やご家族、支援者の方々が、電話やメールで相談できる窓口の一覧です。（2月7日時点） 視覚障害 日本盲人福祉委員会　※NHKサイトを離れます 電話：[phone]（午前9時～午後9時） メール：[email protected] 石川県視覚障害者協会　※NHKサイトを離れます 電話：[phone]（受付時間：午前9時～午後５時 ※土曜・祝日を除く） ホームページでは、被災され支援が必要な視覚に障害がある方の情報を集めています 石川県眼科医会　※NHKサイトを離れます 被災された方に向けて眼科相談窓口を開設しています 聴覚障害 石川県聴覚障害者災害救援対策本部　※NHKサイトを離れます FAX：[phone] メール：[email protected] 電話：[phone]（受付時間：平日午前9時～午後5時） ■能登半島地震に関する情報が手話・字幕付きで発信されています。 石川県聴覚障害者センター公式YouTube　※NHKサイトを離れます 目で聴くテレビ公式X（旧Twitter）　※NHKサイトを離れます ■能登半島地震により被災されてお困りの方に、無償で代理電話・遠隔手話サービスを提供しています。 (株)プラスヴォイス災害緊急対応（手話、文字チャット）　※NHKサイトを離れます 盲ろう 社会福祉法人全国盲ろう者協会　※NHKサイトを離れます 電話：[phone]（受付時間：祝日を除く平日，午前9時～午後5時30分） FAX：[phone] メール：[email protected] 石川盲ろう者友の会 電話：[phone]（受付時間：祝日を除く平日，月・水・金 午前10時～正午） FAX：[phone] メール：[email protected] 身体障害 石川県肢体不自由児協会 事務局　※NHKサイトを離れます 電話：[phone]（受付時間：平日 午前9時～午後3時） メール：[email protected] 知的障害 石川県手をつなぐ育成会　※NHKサイトを離れます 電話：[phone]（受付時間：平日午前9時～午後5時） メール：[email protected] 発達障害 石川県発達障害支援センター　※NHKサイトを離れます（※原則石川県在住の方） 電話：[phone] (受付時間：平日 午前8時30分~午後５時15分） メール：[email protected] 精神障害　そのほか心の不安など 石川県健康福祉部こころの健康センター　※NHKサイトを離れます（※原則石川県在住の方） 電話：[phone]（受付時間：平日9時～17時） メール：[email protected] こころの相談ダイヤル（24時間受付）　※NHKサイトを離れます（※原則石川県在住の方） 電話：[phone]（平日午前9時～午後5時） 　　　0570-783-780（平日午後5時～翌日午前9時/土日・祝日） てんかん てんかんホットライン　※NHKサイトを離れます 電話：[phone]（24時間受付） メール：[email protected] ALS 日本ALS協会　※NHKサイトを離れます 電話：[phone]（平日 午前10時～午後5時） メール：[email protected] 障害のある方の相談全般 石川県健康福祉部障害保健福祉課 電話：[phone]（受付時間：午前9時～午後5時45分） ＮＰＯ法人　ゆめ風基金　※NHKサイトを離れます 電話 : [phone]（受付時間：月曜～土曜 午前9時～午後5時） メール：[email protected] きょうされん　全国事務局　※NHKサイトを離れます 電話：[phone]（受付時間：平日 午前9時30分～午後5時） メール：[email protected] 石川支部・災害支援窓口（※原則石川県在住の方） 電話：[phone]（受付時間：平日 午前9時30分～午後5時） メール：[email protected] 石川バリアフリーツアーセンター　※NHKサイトを離れます 電話：[phone] 被災され支援が必要な方に対して、物資の支援や移動の援助などさまざまなサービスを提供しています。

能登半島地震　相談窓口一覧（障害のある人たち） - 記事 | NHK ハートネット

[ongsomath-blog]

🚗アンコールワットタクシーチャーター料金

●アンコール小回り＋朝日50$

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(この料金お一人様あたり料金じゃなくて　一台の料金です。) 4人からミニバンを使うから　ちょっと　別料金ですが)

#アンコールワット #シェムリアップ #タクシードライバー #travel #プリアヴィヘア #developers & startups #culture #news #nature #アンコールワットタクシードライバー #カンボジアタクシードライバー #カンボジア

[sakananoko-news]

『さかなのこ』 Blu-ray ＆ DVD 2023年2月24日発売！

『さかなのこ』のBlu-rayとDVDが2023年2月24日(金)に発売！ Blu-ray特装限定版には、メイキングやイベントの映像、沖田監督と のん が出演するオーディオコメンタリーなど豪華特典を収録しています。

『さかなのこ』 Blu-ray【特装限定版】

　発売日：2023年2月24日（金） 　価格　：6,380円（税込）

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★映像特典（本編ディスク収録）★ 　●特報／予告編

★仕様★ 　●特製スリーブケース 　●両面ジャケット 　●バリアフリー日本語字幕・バリアフリー日本語音声ガイドつき

発売・販売元：バンダイナムコフィルムワークス

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『さかなのこ』 DVD

　発売日：2023年2月24日（金） 　価格　：4,180円（税込）

★映像特典 　●特報／予告編

★仕様★ 　●バリアフリー日本語字幕・バリアフリー日本語音声ガイドつき

発売・販売元：バンダイナムコフィルムワークス

　＊　＊　＊

★Blu-ray & DVD　店舗特典情報★

●のん Official Fan Club「Non Knock」会員限定オリジナル特典 　アイテム：COMING SOON 　予約受付開始日：COMING SOON 　https://fanicon.net/icons/non/index.html

●スターダストショッパーズ　オリジナル特典 　アイテム：柳楽優弥、夏帆 劇中生写真（2枚セット）

◆柳楽優弥 https://stardustshoppers.jp/sp/shop.asp?cd=225 ◆夏帆 https://stardustshoppers.jp/sp/shop.asp?cd=107

●磯村勇斗 OFFICIAL SITE　オリジナル特典 　アイテム：【磯村勇斗 OFFICIAL SITE 特典】生写真2枚セット

　https://hayato-isomura.com

●先着購入特典 アイテム：特製メッセージカードセット　アザーバージョン（3枚）

▼Blu-rayまたはDVDを以下の対象店舗で予約購入した方に先着プレゼント A-on STORE／Amazon.co.jp／赤い熊さん／エムズエクスポ盛岡店／紀伊國屋書店（※一部店舗除く）／玉光堂／バンダレコード／ライオン堂（オンライン除く）／ぐるぐる王国／コーチャンフォー（※一部店舗除く）／Joshinディスクピア(Joshin webショップ 含む)／セブンネットショッピング／タワーレコード（※一部店舗を除く）／TSUTAYA RECORDS（※一部店舗除く）、TSUTAYAオンライン／ヤマダデンキ（※一部店舗除く）／楽天ブックス／WonderGOO/新星堂（※一部店舗除く）

※特典はなくなり次第終了いたします。 ※特典の有無は各店舗にお問い合わせください。 ※特典は商品購入時にお渡しします。 ※特典内容は予告なく変更する場合がございます。

#さかなのこ