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mahounomanga · 2 years

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Gorgeous Irene

We're getting into the 1980s here at Mahou no Manga, which is perhaps one of the most important decades in the history of the magical girl genre. So before I start talking about the manga du jour, I first want to unpack what made the 80s so, dare I say, transformative.

The 1980s were a time of great change for the magical girl genre, and these changes were being felt across a variety of media. Starting with anime, Mahou Shoujo Lalabel finished airing in 1981. The anime was produced by Toei Animation, an animation and planning company that had also created nearly every other magical girl anime in existence at that time (the sole exception being 1971's Fushigi na Melmo, animated instead by Tezuka productions). Once Lalabel ended, Toei took an approximately decade long break from releasing new magical girl anime. 1982's Magical Princess Minky Momo (handled by Ashi Productions) would be only the second ever non-Toei magical girl anime. Following its' success, numerous other studios, mangaka, and other content creators of the time would put their own spin on the magical girl formula, which dramatically expanded the scope of what a magical girl can be and do. As such, this is the point where we start to see the consensus as to which titles are considered magical girl and which are not break down. Is Spoon Oba-san a magical girl anime? What about Vampire Princess Miyu? Who knows?

Key innovations of this time include the creation and popularization of the magical idol sub-genre thanks to 1983's Magical Angel Creamy Mami, Studio Pierrot crossing over their magical girls in 1987 (or 1986 depending on how you look at it) to create what is likely the first ever magical girl team in anime, and a small handful of male-oriented magical girl OVAs being released to the newly booming direct-to-video market. That last point is particularly interesting to me because prior to the eighties, magical girls designed for boys and men were a rarity. 1973's Cutie Honey was the first magical girl series intended for a male demographic in both anime and manga, but despite its' success, it was essentially a one-off. While male-aimed magical girls still weren't super common in the eighties, they were slowly growing in number. Similarly, two of these OVAs (Dream Hunter Rem and Genmu Senki Leda, both released in 1985) are early examples of magical girl warrior anime. While neither would be hugely influential on their own, they are a stepping stone on the path to magical warriors being the most common kind of magical girl.

As well, the late eighties saw both magical girl anime from the 60s get rebooted. Himitsu no Akko-chan was brought back as a live action TV special in 1987, and a TV anime series retelling the story of the original in 1988. Sally the Witch would get a direct sequel series in the form of a TV anime in 1989. These weren't the first magical girl reboots (There was a new Comet-san TV drama in the 70s that I think is technically the first), but they are emblematic of the nostalgia cycle starting to apply to magical girl anime, something we are still seeing to this day with works like Sailor Moon Eternal and Tokyo Mew Mew New.

The eighties are also when magical girls would globalize at an unprecedented rate. Existing Japanese magical girl shows were exported to numerous foreign markets during this time, mostly in Europe and South America, with foreign language dubs being created for these properties, including some of the first English dubbed magical girl anime. The first magical girl anime to receive an English dub was 1979's Hana no Ko Lunlun, a few episodes of which were edited together into a TV movie that aired in 1981 under the unhelpfully generic title of Angel.

Meanwhile, original English language magical girl cartoons were being created in greater numbers than before. American cartoons of the 80s are known for toy tie-in cartoons, and so doll lines like Jem, Rainbow Brite, and the original She-ra were adapted to screen. Notably, these 80s magical girl cartoons generally did not derive influence from existing magical girl anime. Rather they developed on their own, often repurposing existing fantasy and fairy tale tropes to be more female centric and magic intensive.

And then there's manga. During the 1980s, magical girl manga would undergo two major changes, both of which essentially comport with changes in contemporaneous magical girl anime. First of all, this decade saw an uptick in shounen and seinen magical girl manga. Like I said, Cutie Honey was the first shounen magical girl manga, but because it has a very high-profile anime (or, y'know, five, who's counting?), it was not covered on the blog. As such, every manga we've looked at prior to now has been shoujo. But starting today, Mahou no Manga will be covering manga geared towards boys and men as well.

Secondly, this is the point at which we start seeing magical girl manga making its' way into English speaking fan communities. A handful of 80s magical girl manga have been translated by manga scanlating groups and at least one got an official English release in its' own time.

Both of these changes come together in the topic of today's post: the first shounen manga to get its' own write-up on this blog, and the first manga I've covered that has been translated in its' entirety.

Gorgeous Irene is a manga by Hirohiko Araki about a gorgeous assassin named Irene Rapona. Usually taking on the appearance of a strange and airheaded sixteen year old girl, Irene has an arsenal of magical makeup that can transform her into a sadistic woman with hypnotic abilities and an invincible body. Those who contract her must become her friends, and in exchange for their friendship, she will protect them from harm. She does battle with powerful enemies, using her makeup as a deadly weapon. Not only that, but she is a master of disguise who can blend in anywhere, or stand out as she sees fit.

As a magical girl story, this one is... certainly interesting. Given that it is quite short, we don't get much of a read on Irene's character, and most of her life story and motivations remain cloaked in mystery. Where she got her makeup and what the full extent of its' abilities are are never made fully clear. As well, her story is often told from the perspective of her clients until the moment she leaps into battle. The character drawing style is... distinctive let's say. Proportions and poses are what I can only describe as stylishly awkward. As for Irene herself, I actually like her quite a bit. She has a tenacity and charm to her that really carry the story in my opinion.

I will say that if you want to read this one for yourself, definitely know your own limits. Content warning for animal cruelty, graphic bloody violence, and body horror. The female characters, including Irene herself, are very much sexualized, so if you're not comfortable with that, this might be one to skip. As well, if you're squeamish about bugs, the final chapter is probably going to get to you.

Gorgeous Irene's publication history is a bit of a mess. Many online resources will tell you it was published from December 23, 1980 to December 20, 1986 (which is how this ended up being the first eighties manga on my timeline) and it ran for five chapters. These five chapters were published in a single tankobon volume on February 10, 1987, and every subsequent reprint has included all five chapters. However, Gorgeous Irene isn't the only thing here. In actuality, it only makes up the last two chapters, with the other three being assorted one-shots by Hirohiko Araki.

These additional stories are interesting in the own right, Especially Mahounen B.T. and Busou Poker. The former would go on to have a six chapter run of its' own, and a sequel one-shot published in 2021. As of this writing, I've only read the original one-shot. Although I have seen the title translated as Magical Boy B.T., it is not a magical boy manga and is instead a detective story in which the main character occasionally does sleight-of-hand magic tricks. Not to mention a more accurate translation would be Wicked Boy B.T. and the official English title is Cool Shock B.T.. Busou Poker (Poker Under Arms) is a wild west poker drama of sorts, which is not my cup of tea but does still boast some historical significance as Araki's debut work, published on, you guessed it, December 23, 1980.

Hirohiko Araki is best known as the creator Jojo's Bizarre Adventure. It would certainly be interesting to compare and contrast that manga with Gorgeous Irene, but alas I have not actually read or watched Jojo's Bizarre Adventure. I was tempted to try some for this project, but given the sheer amount of Jojo content that has been created, I didn't think I would be able to get a sufficient understanding of the series in a timely fashion. So if there are any JJBA stans among my readers, feel free to check out Gorgeous Irene and drop your observations in the reblogs.

Gorgeous Irene ran for two chapters in Weekly Shounen Jump, the first chapter published October 1, 1985, the second published December 20, 1986. Both chapters were published alongside the other short stories on February 10, 1987 with reprints on March 19, 2004, in October of 2007, and on December 16, 2012. Most recently, the manga received a digital rerelease on November 1, 2015. As far as I know, Gorgeous Irene has never been officially published in English. The good news is, Project Bite Me! Scanlations has released an English translation of all five chapters, making this arguably the most accessible manga I've covered on this blog, and its' tangential connection to Jojo's Bizarre Adventure makes it easily the most well-known manga I've covered. For once it wasn't a matter of trying to scrounge up enough information for a coherent write-up, but deciding what information was important enough to include vs. what to omit. Huge shout-out to Jojo's Bizarre Encyclopedia for having most of this information at-the-ready. If you want to know more about Gorgeous Irene, go check out their article on the subject.

While I certainly have my criticisms of this manga, it was an engaging read to say the least. I've never seen another magical girl story quite like it, and I think it makes for the perfect segue into a new era of manga in the genre.

#my posts #long post #Gorgeous Irene #ゴージャス★アイリン #Hirohiko Araki #荒木飛呂彦 #Shounen Jump #80s #shounen #In hindsight I probably should have been tagging the rest of my stuff as shoujo for posterity's sake.#I wonder if I should go back and tag everything retroactively.

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chanoyu-to-wa · 3 years

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Nampō Roku, Book 6 (50): Concerning the Way to Hold the Kōro.

50) The way to hold the kōro: it should be grasped from above when picking it up¹. The left hand should be oriented with the palm facing upward, and three or four fingers [of that hand] should be inserted between the front leg and the right leg* -- depending on the size of the kōro². Rest [the kōro] carefully [on the left palm]³, and rehold it [from the side] with the right hand -- so the fingers wrap around [the side of the kōro, holding it securely]⁴.

￮ From among those censers of good proportions, and which have three legs, those where the space is greater between the front leg and the right leg [are preferred]⁵ -- and it is because of this knowledge that the front of the kōro can be decided upon with certainty⁶.

￮ If a kōro is decorated with [a depiction of] scenery, then the scenery should be used [as a guide when deciding upon the front]⁷.

￮ In the vocabulary of the devotees of incense, the kōro is referred to by the [name] tsukamu [ツカム]. This is because of the way it is picked up with the right [hand]⁸.

[The writing reads: (above, right then left) hidari-ashi (左足)⁹; migi-ashi (右足)¹⁰; (below) shōmen-ashi (正面足)¹¹.]

〇 Kaki-ire [書入]:

Jōō said¹²:

￮ With respect to the kōgō [香合], in spring and summer, [the kōgō should be] ceramic things or metal things; in autumn and winter, things [made of] unpainted wood, and lacquerware, are best¹³. When doing incense, this is a very important concept¹⁴.

￮ With respect to using fashionable kōgō in the tearoom: this kind of thing is better left to the curio-collectors¹⁵.

The things written [in this kaki-ire] should be preserved carefully¹⁶.

_________________________

◎ This is the last of the posts dedicated to the shin no kō-kazari. The text contains four brief passages, detailing the way to pick up and hold the kōro, as well as several others of historical or practical interest.

The kaki-ire [書入], which is not really related to any of the three posts in this series, contains two aphorisms that Jōō seems to have written out for Nambō Sōkei, when the two men were newly acquainted. Though brief, they are also important.

¹Kōro no mochi-yō, migi-te ni te ue yori tsukamu-yō ni shite tori-age [香爐ノ持ヤウ、右手ニテ上ヨリツカムヤウニシテ取アゲ].

Mochi-yō [持よう] means the way to hold (something).

Ue yori tsukamu-yō ni shite tori-age [上より攫むようにして取り上げ]: ue yori [上より] means from above; tsukamu-yō ni suru [攫むようにして] means to clutch as when (a raptor) grasps its prey from above*; tori-age [取り上げ] means pick up, take hold of. __________ *See footnote 8, below, for further details on this very uncommon word.

²Hidari no te wo aonokete shōmen-ashi to migi-ashi no ma [h]e, yubi mitsu ni te mo yo[tsu] ni te mo kōro no ōki shidai irete [左ノ手ヲアヲノケテ正面足ト右足ノ間ヘ、ユビ三ツニテモ四ニテモ香爐ノ大キ次第入テ].

Hidari no te wo aonokete [左の手を仰けて] means the left hand should face upward.

Shōmen-ashi to migi-ashi no ma [h]e [正面足と右足の間へ] means (the fingers are inserted) between the front-leg (shōmen-ashi [正面足]) and the right-leg (migi-ashi [右足]).

As was the case with the daisu, the kōro is considered to be facing toward the person who is sniffing the incense. Thus, “left” and “right” are reversed.

Yubi mitsu ni te mo yotsu ni te mo...irete [指三つにても四つにても...入て]: yubi [指] means fingers (of the left hand); mitsu ni te mo [三つにても] means either three (fingers); yo[tsu]* ni te mo [四(つ)にても] means or four fingers; ...irete [入て] means to insert, put in.

In other words, the left hand is held with the palm facing upward, and the kōro is rested on top of it, with the fingers extending through the space between the front leg and the leg on the left.

Kōro no ōki shidai [香爐の大き次第] means depending on the size of the incense burner. __________ *The text, as printed in the Sadō ko-ten zen-shū edition, has inexplicably left off the kana -tsu [つ] from the word yotsu [四つ]. Whether this was a printer’s mistake, or a copyist’s mistake (committed by Tachibana Jitsuzan, or some other) is not clear.

It was restored in both Shibayama Fugen’s and Tanaka Senshō’s teihon [底本].

³Tokuto nose [トクトノセ、サテ右手ヲ取ナヲシヲヽイテキクベシ].

Tokuto nose [篤と載せ] means carefully [tokuto [篤と]) put (the kōro) down (noseru [載せ]*) on the left hand. __________ *The verb noseru [載せ��] conveys the image of loading something onto a dray or barge.

⁴Sate migi-te wo tori-naoshi, ōite kiku-beshi [ヲヽイテキクベシ] [サテ右手ヲ取ナヲシヲヽイテキクベシ、ヲヽイテキクベシ].

Tori-naoshi [取直し] means to rehold (the kōro from the side with the right hand while it rests on the left palm -- just as is usually done when drinking from a chawan).

Ōite kiku-beshi [被いて利くべし]: ōu [被う] means to cover, to conceal, to enclose, to wrap around; kiku-beshi [利くべし] means (the fingers of the right hand) should be able to (wrap around the kōro), it should be possible (for the fingers of the right hand to wrap around the kōro).

The kōro was picked up from above with the right hand. It was laid on the palm of the left. Then the right hand reholds the kōro from the side (with the thumb in the front and the four fingers on the far side of the censer), with the fingers wrapping around it. This is essentially the way the chawan is held (though, since the kōro is much smaller in diameter, the effect is that the kōro is enclosed and concealed by the right hand).

⁵Sun-yoi kōro ha kanarazu san-soku no uchi, shōmen-ashi to migi-ashi no ma sukoshi hiroi nari [寸ヨキ香爐ハカナラス三足ノ内、正面足ト右足の間少ヒロキ也].

Sun-yoi kōro [寸よい香爐] means a kōro of good proportions; a kōro of a good size.

Kanarazu mitsu-ashi no uchi [必ず三足の内] means it certainly should be (selected from) among those with three legs.

Shōmen-ashi to migi-ashi no ma sukoshi hiroi [正面足と右足の間少し廣い]: shōmen-ashi [正面足] means the front leg; migi-ashi [右足] means the right-leg (that is, the leg on the left side when viewed from the front); no ma [の間] means the space between (the legs); sukoshi hiroi [少し廣い] means (the space is) a little larger (than between the two back legs, or the front leg and the leg on the right side).

This can be seen in the above sketch (which is based on an actual kōro). On the continent, too, incense was appreciated, and these kiki-kōro [聞き香爐] were especially made for this purpose. The unequal spacing between the legs was not an accident (though it seems that the reason has been forgotten).

⁶Dai-ichi sono kokoro-e ni te kōro no mae wo mo kiwamuru nari [第一其心得ニテ香爐ノ前ヲモキハムル也].

Dai-ichi [第一] means primarily.

Sono kokoro-e ni te [その心得にて] by means of this understanding (that the legs are unequally spaced, and the wider space should be between the front leg and that on the left).

Kōro no mae wo mo kiwameru [香爐の前をも極める] means the front of the kōro (kōro no mae [香爐の前]) can also (wo mo [をも]) be decided upon with certainty (kiwameru [極める]).

⁷Kei-aru kōro ha kei ni mo shitagau-beshi [景アル香爐ハ景ニモシタガフベシ].

Kei-aru kōro [景ある香爐] means a kōro that is decorated with scenery.

This can be extended to mean any sort of decorative pattern (and specifically a pattern that has a clear front and back).

Kei ni mo shitagau-beshi [景にも従うべし] means “take (your) lead from the scenery (when deciding on the front).”

⁸Kō-kata no kotoba ni, kōro wo tsukamu to iu-koto ha migi mochi-yō no koto nari [香方ノコトバニ、香爐ヲツカムト云コトハ右持ヤウノコト也].

Kō-kata no kotoba ni [香方の言葉に] means the word (for the kōro) used by devotees of incense.

Kōro wo tsukamu to iu-koto ha [香爐を攫むと云うことは]: tsukamu [攫む] literally means “to grasp (from above) with the claws (the way a raptor seizes its prey on the wing).” This comes from the way the censer is picked up at first, from above (with the right hand arching over the top in what is described as the “half-moon” shape).

Migi mochi-yō no koto [右持ようのこと] means the manner in which it is picked up with the right (hand).

⁹Hidari-ashi [左足].

Hidari-ashi [左足] means the left leg.

As with the daisu, the kōro is considered to be facing toward the person who is appreciating incense. Therefore, left and right are reversed.

¹⁰Migi-ashi [右足].

The right leg.

¹¹Shōmen-ashi [正面足].

Shōmen-ashi [正面足] means the front leg; the leg that faces forward.

¹²Jōō iu [紹鷗云].

The words “Jōō iu” [紹鷗云]* that open this kaki-ire were probably added to an unsigned note given to Nambō Sōkei by Jōō during the early days of their acquaintance -- so he would not forget who it was received from†. ___________ *“Jōō said.”

†Jōō was already a famous chajin (who was already putting his antique business behind him as he pursued his cultural endeavors more deeply), having single-handedly created the cha-kai [茶會] out of the Shino family’s kō-kai [香會]. At that time, Sōkei would have had no idea how his relationship with Jōō might evolve over the coming decades.

¹³Kōgō no koto, shun・ka ha tsuchi-no-mono, kane-no-mono, shū・tō kiji-no-mono, nurimono yoshi [紹鷗云、香合ノコト、春・夏ハ土ノ物、カネノ物、秋・冬ハ木地ノ物、ヌリ物ヨシ].

Tsuchi-no-mono [土の物] means things made from fired clay -- pottery, ceramics.

Kane-no-mono [金の物] means things made from metals.

Kiji-no-mono [木地の物] means wooden objects that have not been painted (in other words, their surface is the bare wood).

Nuri-mono [塗り物] means lacquerware*.

Jōō's reasoning is that spring and summer are yang [陽] seasons†, so objects created using fire are appropriate. Autumn and winter are the yin [陰] seasons‡, so things made from wood and lacquer (dead wood and dried sap) should be used.

That said, as with much else that is related to the kōro and incense, this dictum was enunciated early in Jōō's middle period (at which time the only incense used in the tearoom, regardless of season, was either kyara [伽羅] or jin-kō [沈香] -- the latter being a less resionous variety of the same kind of wood). His approach to chanoyu continued to evolve over the course of his lifetime (becoming simpler, and more practical in orientation, as he grew older)**. __________ *In addition to being coated with dried sap, the interior of lacquered objects was traditionally made of dry wood or bamboo, leather, or paper, all of which are yin.

†Because the sun’s heat is waxing during the spring and summer.

‡Because the sun’s heat is waning during the autumn and winter.

**Later in his life, Jōō said that ceramic kōgō should be used during the ro season, while lacquered kōgō should be used with the furo.

In the earlier version of the Hundred Poems, Jōō’s teachings are recounted in the poems:

fuyu nado ha sumi mo fukube ni e no hibashi kiji kōgō ni takimono to kiku

[冬などは炭もふくべに柄の火箸木地香合に薫物と聞く].

“In winter and such [seasons] the charcoal is also in a fukube, the hibashi have [wooden] handles, and the incense is kept in an unlacquered wooden container, so I have heard.”

Natsu nado ha sumi mo sairō kana-hibashi kyara-kōgō ha nuri-mono to shire

[夏などは炭もさいろうかな火箸伽羅香合はぬりものとしれ].

“In summer and the like, the charcoal is also [placed] in a vegetable-basket, and the hibashi are of metal; and the kōgō for the kyara [should be] lacquered, so you should understand.”

During this period, kyara or jin-kō were used all year round.

Later, however, these poems evolved into:

ro no uchi ha sumi mo fukube ni e no hibashi tōki-kōgō neri-kō to shire

[爐の内は炭もふくべに柄の火はし陶器香合・ねり香としれ].

“During the ro [season], the charcoal is also in a fukube, [and] the hibashi have handles; in a ceramic kōgō, neri-kō -- so [you] should understand.”

Natsu nado ha sumi mo sairō kane-hibashi nuri-kōgō ni byakudan wo take

[夏などは炭もさいろうかね火ばしぬり香合に白檀をたけ].

“In summer and the like, the charcoal is also in a vegetable basket, [and] the hibashi are metal; from a lacquered kōgō sandalwood is burned.”

Here, we see that Jōō has begun to use neri-kō during the ro season, and the (much cheaper) byakudan with the furo.

As has been mentioned before, the ceramic and metal containers were originally used as taki-gara-ire [炷空入] (containers into which the burned-up incense was discarded). Only the lacquered and wooden pieces were used to hold the incense.

Nevertheless, this change was for purely practical reasons, since the sticky neri-kō [練り香] (traditional neri-kō does not contain any powdered charcoal: it is simply a mixture of pulverized incense materials suspended in sufficient honey so that it can be divided into pieces and rolled into balls; it is considerably stickier than the commercial product available today) has to be washed away, which could damage a lacquered or unpainted kōgo, while containers of that sort had been used to hold wood incense since ancient times.

¹⁴Kō no tame ni yoki-yue no koto nari [香ノ爲ニヨキ故ノコト也].

Kō no tame ni [香の爲に] means when doing incense -- that is, when practicing kōdō (or appreciating incense in the context of chanoyu).

Yoki-yue no koto [能き故のこと] means (the foregoing statement) is an important concept (that should be analyzed, and taken to heart).

¹⁵Chaseki ni mochiiru toji-toji no kōgō ha, mono-zuki ni makasu-beshi [茶席ニ用ル當時〰ノ香合ハ、モノズキニマカスベシ].

Toji-toji no kōgō [當時當時]: toji-toji [當時當時] means something like “all the rage;” something that is the popular trend-setter at this particular time.

In other words, this describes a kōgō that is “in fashion” at the moment -- the kinds of things (and idea behind them) that are featured in the quarterly tea utensil catalogs that are published in Japan.

Mono-zuki ni makasu-beshi [物好きに任すべし]: mono-zuki [物好き] means someone who is interested in curiosities, a collector of curios; makasu-beshi [任すべし] means should be left for (the curio collectors).

That is to say, Jōō is rejecting the idea of using things only because they are popular at the moment.

¹⁶Migi ha takuwae-yō nari to iu [右ハタクハヘヤウ也ト云].

Migi [右] means the text of the several dicta that make up this kaki-ire.

Takuwae-yō [蓄えよう] means “to be saved.”

This brief note was probably written, by Nambō Sōkei, on a memo of teachings presented to him by Jōō early in their acquaintance. Sōkei is reminding himself that these teachings are important; and that they should be preserved carefully. (This “kaki-ire” may have been one of the earliest additions to what eventually grew into Sōkei’s collection of papers that he kept in his wooden chest -- the writings that eventually grew into the foundation of the Nampō Roku itself.)

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redfoxwritesstuff · 4 years

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Of Dust and Ashes (Chapter 20)

Happy Friday! Did you all miss Dust last week? I realized while editing this that I left y’all hanging for a extra week to find out what happened to the baby. Oops? Can y’all forgive me?

Masterlist Ko-fi

Chapter warnings: Weather exposure

Clint Barton x ofc

Chapter 20: Too Late?

There was a tension in the air as they stood, watching the caravan make their way down the road. The roaring of engines and crunching of ice filled the air. There sound of sobbing coming from the crates carried over the snow like a haunting song. Neither dared to speak more than needed for fear of drawing attention to themselves. It didn’t need to be spoken for they both feared that if the caravan saw the gate would be opening they would turn around and fall on them.

The breeze carried strands of Dee’s hair across her face, tickling her nose and cheeks. She tucked the strands back behind her ear and darted her eyes to where Clint stood, stock still and knuckles white where he gripped the truck door.

The sky was gray with heavy clouds above them. It trapped warmth for the world below them and Dee prayed that warmth was enough to keep that baby alive until they could get to her. Fat white snowflakes fell as they watched the tail of the caravan farther down the road now, making slow and steady progress. They took the nightmares of what was their society with them.

While she watched the retreating figures, her mind wondered. If she were to be honest with herself, there was a part of her that didn’t want to go. A small part of her was scared. The jagged shard of fear pierced deep into her, cutting straight to the bone.

It wasn’t that she was afraid to leave and go outside the gates. It was what they may find if they were able to locate the baby that scared her so much.

This wouldn’t be the first time she’d tried to save a baby. The memory was even now burned in her mind. The way the little body looked, bloated and leaking fluids onto the too big bed haunted her dreams, played to the soundtrack of screams. Could she survive going through that again?

At least this time the body would be fresh, she told herself but that did nothing to help the fear lodged deep in her stomach. There were many creatures within the forests. She was well aware that dogs ran these woods, hungry and only beginning to learn the ways of their ancestors. Many would leap at the chance for an easy meal.

“Let’s go.” She nodded at Clint’s word and they slipped into the truck. “Friday, gate.”

~~~~~<3

“Keep your eyes on the lookout.” Clint commented, driving slowly.

It was easy enough to follow the tracks the caravan had left through the snow. They’d been driving for over an hour and all they found was dirty tracks, gray and brown from wheels mixing ashy snow, dirt and settled.

“There.” Dee pointed. Part of her, a small part of her doubted if she should have said anything. The bundle was small and still.

Surely it was too late. Surely the baby was already gone. Surely it was better to leave it and go home.

Clint threw the truck in park. The cab jerked and slid a few short inches along the ice before coming to a stop, much like her heart. Although she had her fears, her doubts all left her mind the moment she had the door opened. Her heart took over, much to the dismay of her mind. Snow crunched under her boots as each step came rushed, faster than the last and carried her closer.

Her hands shook- though from cold or fear, she couldn’t say. Trembling fingers reached out for the bundle of rags, brown and dirty. They were still- so still and her breath locked in her chest. As Clint came to her side, there was a whimper from the bundle. It was such a soft sound that it was almost lost on the wind.

“Oh my god.” Dee whispered.

“She’s alive.” Clint sounded as shocked as she was. “Get her out of the snow, I’ll get the heat cranked in the truck.”

The baby was wrapped in many layers of scrap cloth. When Dee uncovered the child’s face, she was cool to the touch. Small fingers and tiny lips had a blue tinge to them. It took everything she had to not shove the child in front of the hot air from the vents. Instead she shed her coat and held the bundled babe to her chest.

“What do we do now?” Dee whispered, feeling relief as the small bundle began to squirm more a little more each passing minute. It began to squawk more as the truck rolled down the snow covered road. “We’ve got a baby- now what?”

“Formula.” Clint answered, turning down side roads.

“And you happen to know where some would be?” The baby in her arms started to coo and whine. “We’ll also need something to diaper her with.”

“She need changing?” Clint glanced over as Dee worked the layers of dirty cloth off the small body. “How old do you think she is anyway?”

“Not yet but she will. God, she’s so skinny.” Dee was able to get a closer look at the almost naked babe with the scraps of cloth away. She was still far too cold but as she warmed, she seemed to be coming to life. “She’s probably a few weeks old?”

“Shit.” Clint grimaced as he looked over at her. “God, are they always so skinny at that age?”

“No- not that I remember. The belly- it’s not…” She shrugged, poking at the little belly. It lacked all the soft plumpness she had remembered from her own children.

“It’s been a long time since I’ve taken care of a baby.” Clint offered.

“How old is your youngest?”

“He is- was three. Just over three years old.” His jaw worked through the tension.

It had taken time but he could finally talk about them, his family, though for only short spells. It still pained him to dwell on them. In some ways, the kids hurt more.

Laura knew he was human but to the kids- he was a hero to them. To them, he could do anything. Failing them hurt more than anything else in the world.

“I’ve got you beat. Frankie was seven. Would be eight now.”

“Between the two of us, we can manage a baby for a bit- right?”

“For how long?” She whispered. “What are we going to do with her, Clint? Do we name her? Do we- fuck, is she ours now? I can’t- I can’t do that Clint. Not right now. Not with how the-”

“Hey, hey.” His strong arm rapped around her bicep and gave a squeeze. He squeezed again and again until she turned her panicked eyes to him. “We’re going to take care of her for now. And we’re going to get her fed and warmed. Get her hydrated and in clean diapers and clothes. We’re going to get her situated.”

“Then what?” Tears gathered in her eyes. “I can’t-”

“I know. I can’t either- not right now. We’re going to get her situated, then I’m going to get her mother.”

“What about King Jacob?”

“I’ll kill him if I have to.”

“I want to go. I want to help. I need to help.”

“Dee- she’s a baby. She can’t be alone.”

“But-”

“Tell you what. Let’s see how she does. If she’s stable than maybe you can take the bow and we’ll figure something out. But I do not want you anywhere near the action. You’re job would be to protect her and watch my back from the distance.”

“Clint-”

“But only if she’s strong enough.” He didn't even want to give her that much. It was an agreement he had no intention of following through on. Dee was his to protect and to allow her into battle, even removed from the action was more risk to her than he would allow. He wouldn't fail to protect another person in his life, not again.

“Okay.” She gave up as Clint pulled into a rural clinic parking lot. It was tucked deep into the forest and easy to miss. The snow around the clinic sparkled and was undisturbed. Windows and doors were intact. It didn’t matter if she liked it or not, the conversation was settled for now.

“Do you think your jackets tight enough to hold her?” Clint asked, cutting the engine.

“Maybe, yeah. With the blankets. I don’t want to drop her.”

“I don’t want to advertise that we’ve got her. You never know who’s watching.”

Dee arranged the babe into the valley between her breasts, inside her shirt. She was still cool to the touch, far cooler than she’d like. Cold fingers flexed and short nails scratched at her skin. While the baby had perked up and started to fuss with all the moving around, she quickly settled with the contact.

Clint threw his quiver over his shoulder and gripped his tactical bow in one hand. Dee tossed her quiver and bow over her shoulder, hoping she wasn't going to have to use it. Knowing that there were others in the general area that were less than friendly put them both on edge.

The font doors were locked, not that it was at all surprising. Dee allowed Clint to lead them as he searched for a way in. She followed close behind, keeping the baby nestled against her chest between them. She did her best to move in a way that no one would have any reason to expect there was a baby in her jacket but it was hard. The tiny body kept wanting to slide down.

There wasn’t any signs of other people but that didn’t do anything to calm their nerves. Clint checked the back door and found it locked as well. There were no lights on inside, no signs of life at all.

“What are you doing?” Dee asked as he knelt in the snow, flipping the cover off a generator.

“Checking to see if the gen is full.”

"Why?"

"If it's full, chances are no one's here."

“And?”

“It is.” He stood, dusting his hands off on his pants. “Doesn’t look like it’s run in a long time.”

“Not since?” She didn’t want to finish what she was going to say.

“I’d say no. Not for a good while even before, maybe. I’m going to try and start it.”

“Do you think that’s a good idea?” Dee asked as he brought it to life.

“Calculated risk. I’m going to pick the lock and we’re locking the door behind us. Get her warmed, check her out, feed her and hopefully find her some clothes.”

Dee watched as he pulled some pins out of his wallet. With sure fingers, he made quick work of unlocking the knob. “What if there’s a deadbolt?”

“Than I say fuck it and break the door down? Or break the lock.” It turned out they didn’t need to worry about it.

“Who’s there?” Came a timid voice from inside. “I’ve got a gun. I- I know how to use it!”

“My name is Clint. Her name is Dee. We mean you no harm.”

“Then why are you trying to break in?”

“We’ve got a baby with us.” Clint gave Dee a look when she gave away their secret. “We thought the clinic was abandoned. We were looking for supplies to help her.”

“Go rob someone else.”

“We can trade.” Clint offered. “We’ve got some cans of food.”

“What do you want?”

“Formula.” Dee offered. “Bottles, if you have any. Some clothes for her? Blankets.”

“Just breast feed it- it’s better that way anyway. Save formula for those who can’t.”

“Bold of you to assume she can.” Clint snapped. “We’re not about wasting supplies.”

“So her supply hasn’t come in?” The woman asked through the door.

“It’s not my baby. She was abandoned by King Jacob’s caravan, separated from her mother.” Dee pressed, not wanting to give Clint a chance to get testy with the woman behind the door. “We’re trying to save her life. She was half frozen when we found her and she’s so small. She’s got no clothes, no diaper and I don’t know when the last time she nursed was. She’s so small. Please- Please help us. We’ll give you food, whatever food we have in the truck- hell you can have it all.”

There was silence. Clint and Dee looked at each other as seconds felt like they stretched on into minutes then hours. Snow fell around them. The exhaust from the generator wafted up to the sky. White puffs of breath dissipated in front of their faces.

It felt so wrong to be just standing there, waiting. They felt naked and exposed, locked out of the clinic. They were beginning to worry that the woman wasn’t going to let them in. They worried that they’d have to break the door down and go to war to get formula for the baby. Then the sound they had been waiting for reached their ears. They almost missed it, the sound of the deadbolt was that soft. There was one more click and the door opened.

The woman inside was small and thin. Clearly, the time since the decimation hadn’t treated her well at all. Her blue eyes were sunken in and ringed with dark circles. Blemishes marred her too pale skin. They looked perhaps worse than they were, the red being in such stark contrast to the rest of her face.

Her wavy blonde hair was a matted mess, held back in a low ponytail. It was clear she had been young, full of life when the decimation happened. The new world seemed to have sucked the life out of her in the last few months.

“Hurry, get in here.” They didn’t wait for a second invitation.

“Why haven’t you been using the generator?” Clint asked as she closed the door behind them and locked it.

“I couldn’t start it.” She admitted. “I’m not sure how the pipes haven’t frozen yet. I guess I just got lucky.”

“You’ve been living here without power?” Dee asked, thankful for the slight warmth in the building. It wasn’t cold inside but it wasn’t warm either.

“I’ve been using the fireplace to cook what food I could stash. I try not to use it during the day. Don’t want to draw attention to myself. I had a run in with King Jacob’s followers a few weeks ago, before the snow started. I was lucky to get away.”

“Why here and not a house or something?” Dee asked as Clint looked around.

“What’s the heat in here?”

“Woodstove and natural gas. I haven’t been running the natural gas- the systems don’t work good without electric.” She directed her attention once again to Dee, “Dr. Ross kept the in house pharmacy stocked. We had to upgrade security a while ago, bullet proof windows and break in resistant doors. It seemed safer and had a functional kitchen until the electric shut off.”

“Clint made quick work of getting the heat going. While the natural gas furnace kicked on, he had to light the pilot light to prevent the clinic from filling with toxic fumes rather than warmth. He’d mentioned that it should have kicked on automatically when power was restored but didn’t. It didn’t surprise him, things tended to malfunction and not be repaired when you’re this far from the town.

Dee carefully toted on a few bags of canned food. The cans lived in the truck, kept so when Clint was exploring, searching for food and supplies he would have something to eat. Under the seats were some bags of pasta.

It wasn’t much at all but it was more than Sasha, the nurse had to eat in a long time. She wouldn’t be able to survive on it alone but Clint and Dee knew she didn’t have to. Now that they knew she was there, they could run her supplies as needed. Any medical professional was a thing to support now when so many had been lost. They had no intention of giving up enough to make their own prospects of survival questionable even in the slightest. Still, they had surplus that would likely see them through the winter and beyond even should they give some away.

The garden had done well enough and the freezer was fully stocked with frozen vegetables. Inside the shed, Clint had rigged up heating shortly before the first frost. At first, he had been simply pulling the trailer greenhouse inside during the nights to keep the plants alive a bit longer.

Then, shortly after rigging the chicken coop for the winter he stopped in a farming town a good 200 miles south of the farmhouse. It was getting harder to find chicken feed but the chickens didn’t seem to mind as larger and larger portions of their diet became produce scraps. It was still a jackpot when he found large bags of feed.

It was one of the most productive supply runs he had in weeks. He’d returned to the farmhouse after having been gone for the better part of a day. Dee had been sick with worry when he rolled up. There was no way she could miss the proud smile on his face that typically was the first sign of a hair brained idea that would make their lives better.

It took a day to install grow lights in the shed. When the plants within the greenhouse began to thrive, giving them a supply of fresh berries, lettuce, celery and tomatoes through the frosty fall he wasted no time in expanding the operation. As he was able to track down large, deep pots and potting soil, Clint slowly filled the shed with plants to grow through the winter. Squash, beans, peas and peppers were lined up in neat rows, just sprouts at best but in time, they would grow.

They could use surplus to trade and since they were locked behind a secure gate, they were safe. In large pots, small twigs seemed to reach for the ceiling and Clint hoped that by spring thaw he would be able to plant the trees outside, giving them apples, oranges and pears.

Now that surplus would hopefully save a baby’s life and buy them the loyalty of a nurse. Canned food was a convince for them, not a necessity. Sasha wasted no time in opening a can of green beans and picking long green sticks out of the can and eating them. She drank the juice and reached for another can.

“Wait- be careful.” Dee rested her hand on Sasha’s too thin arm. “We’ve got more food- at the house. It looks like you’ve done without for a while, if you eat too much too fast, won’t you make yourself sick?”

“You’re right.” Sasha sighed. Warmth was pouring from the vents now, quickly warming the room. It was still cold but at least her fingers no longer ached. “The baby?”

Dee looked to Clint for confirmation before working the zipper of her jacket down. Inside was the little bundle, tucked inside her shirt and sleeping against her chest. She fussed when moved and it didn’t take long at all for her to work herself up into a fit, though Dee wasn’t surprised at all given how hungry she had to be.

“And she’s not yours?” Sasha asked, wiping down a scale with disinfectant before turning and grabbing a stack of thin blankets from under a counter. It was fascinating, watching the woman shift and training begin to take over.

~~~~~<3

Tag list is always open

@usedtobegoodfriend96, @tnystrk-exe, @acoholic-muffin, @theoneanna, @alexakeyloveloki, @winterisakiller, @toozmanykids, @j-u-s-t-4, @missaphrodite23, @bambamwolf87, @nonsensicalobsessions, @tinchentitri, @xoxabs88xox, @queenoftheunderdark, @myoxisbroken, @carissime72, @coyotesongwriting, @faemapfae, @jeremyrennerfanxxxx123, @wegingerangelica

#clint barton x oc #clint barton x ofc #clint barton x female reader #clint x ofc #clint x reader #clint barton x reader #clint x original female character #clint x original character

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reiofhope · 6 years

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ロールプレイングゲーム (Role-Playing Game) / SoraMafuUraSaka - Japanese Lyrics/Romaji

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ロールプレイングゲーム (Role-Playing Game)

Lyrics, Composition: まふまふ (Mafumafu)

Mix: そらる (Soraru)

Dialogue Scripting: うらたぬき (Uratanuki), あほの坂田 (Aho No Sakata)

Vocals: そらる (Soraru), まふまふ (Mafumafu), うらたぬき (Uratanuki), あほの坂田 (Aho No Sakata)

*Romaji: reiofhope, kylieluk88

*If you find any mistakes, please inform me! (This romanisation for this one was particularly annoying, what with the katakana and dialogue ww) [Edit: Thank you so much to @tsuki-matsu for informing me about the mistakes!! They have been corrected~]

*Words in CAPITAL LETTERS means they were in katakana, and is probably a foreign word... and these [brackets] are just inserted comments from either me or Kylie...

Japanese Lyrics/Romaji

うら: いつかの勇者に憧れて(憧れて) 無理だってわかっても飛び込む没ストーリーそら: 寄せて集めた４人組(４人組) ほら何にもかんでも何にもかんにも坊主が屏風に上手に坊主で何から何まで人任せ(ちーん) さか: 薬草集めりゃトリカブト(トリカブト) 助走全開のオンゴール草も生えないまふ: あいつもこいつも役立たず(役立たず) 誰のせいだ彼のせいだなすりつけあって日が暮れる Ura: Itsuka no yuusha ni akogarete Muri datte wakatte mo tobikomu botsu SUTORI Sora: Yosete atsumeta yonin gumi Hora nandemo kandemo nanimo kannimo Bouuzu ga byoubu ni jouzu ni bouuzu de nanikara nanimade hito makase Saka: Yakusou atsume rya TORIKABUTO Josou zen kai no ONGORU kusa mo haenai Mafu: Aitsu mo koitsu mo yakutatazu Dare no seida kare no sei datte nasuritsukeatte hi ga kureru

うら: ワンターンで大逆転できる必殺の御業「ない。」ダンジョン奥で迷ったらった脱出アイテムは？「ない。」そら: 攻略本なら疾うの昔にゴミに出しちゃった「えっ！？」完全詰んでるふたりも死んでるセーブのデータもドドドドドーン！ Ura: WANTAN de dai gyakuten dekiru hissatsu no miwaza - nai Saka: DANJON okude mayottaratta dasshutsu ITEM wa - nai Sora: Kouryakubon nara tou no mukashi ni gomi ni dashichatte - e!? Mafu: Kanzen tsumanderu futari mo shinderu SEBU no DETA mo dododododo-n

そら: 強制スクロールライフＡＧＩに全振り回復役はいない廃人の４通りさか:ずらっと並ぶナストマトロクなキャラが選べないそら:「バグだよね！？」 Sora: Kyousei SUKURORU RAIFU A-G-I ni zenburi Kaifuku yaku wa inai haijin no yonto ori Saka: Zuratto narabu NASU TOMATO Roku na KYARA ga erabenai Sora: -BAGU dayone!?-

やっぱりやだやだ僕が先頭だーい最初の街から進まない「ハイハイ！」１×４が０未満もう１年が過ぎたうら:「いいかげんにしろーーー！」ガチャに例えりゃ星ふたつくらいＳＳＲじゃないけれど「ハイハイ！」それでもボクらでいたいんだ君と夜更かししてＲＰＧ Yappari yada yada boku ga sentoudai saisho no machikara susumanai Ichi kakeru yon ga zero miman mou ichinen ga sugita Ura: -ii kagennishiro- Gacha ni tatoerya hoshifutatsukurai S-S-R janai keredo Soredemo bokura deitainda kimi to yofu kashite R-P-G

まふ: いいですか？みなさんチームワークですよ？うらさか: 了解！そら: おいおい、足引っ張ってんの誰だようら: どんどん先に行っちゃうそらるさんでしょ。そら: 俺はみんながやりやすいように道切り開いてるだけーうら: それはそっちの言い分でしょこっちは迷惑してんだよな？坂田さか: うあああああああああああああああああああまふまふに殺されるううううううううううううまふ: ﾋｬﾊﾊﾊﾊﾊﾊﾊﾊ!!全員死ねええええ！！そら: ああ！俺までまふまふお前だけは許さん！！ (さか: 誰か助けてくださあああああい！！) うら: チームワークどこ行った！お前らあああああああああ Mafu: Ii desuka minasan, CHIIMU WAAKU desu yo UraSaka: Ryoukai! Sora: Oi oi, ashi hippatten no dare dayo Ura: Don don saki ni icchau soraru-san desho Sora: Ore wa minna ga yari yasui you ni michi kiri hiraiteru dake Ura: Sore wa socchi no iibun desho Kocchi wa meiwaku shiten dayo Naa sakata? Saka: Uwaaaa mafumafu ni korosareruuuuuuu Mafu: Hyahahaha! Zenin shine! Sora: Aa!! Ore made Mafumafu, omae dake yurusan! (Saka: Dareka tasukete kudasaaaai) Ura: Mou CHIIMUWAAKU doko itta! Omaeraaaaaa

まふ: ぶっとび５.６テラ常にノーバックアップ走れキノコジューシーさモウマンタイうら: 深夜２時から６時間こりゃ当分終わりそうもないなまふ: ねむいよー Mafu: Buttobi go.roku tera tsuneni NO BAKKU APPU Hashire kinoko juushisa moumantai Ura: Shinyaniji kara roku jikan koryatoubun owarisou mo naina Mafu: -Nemuiyo- [omg so cute]

やっぱりやだやだ正義の味方日和見主義が止まらない「ハイハイ！」手のひら返すことだけは命を賭けてござるさか:「なりませぬぞーーー！」最後の最後でセーブし忘れ物の哀れ言わずもがな「ハイハイ！」のべつ幕なし天罰でふりだしに戻れＲＰＧ Yappari yada yada shousha no mikata hiyoro mishugi ga tomaranai - haihai Te no hira kaesu koto dake wa inochi woo kakete gozaru - haihai Saka: -Narimasenuzo- Saiko no saiko de SEBU shi wasure mono no aware iwazumoganai Nobetsu makunashi tenbotsude furidashi ni modore R-P-G

悪を蹴散らす勇者の剣は？「ない。ない。ないないないない。」あの子を守る魔法の盾は？「ない。ない。ないないないない。」大空をかける空飛ぶ船は？「ない。ない。ないないないない。」世界を救う旅に出る気は？「ない。ない。ないないないない。」 Aku wo kechirasu yuusha no ken wa? Nai. nai. Nai nai nai nai Ano ko wo mamoru mahou no tate wa? Nai. nai. Nai nai nai nai Oozora wo kakeru soratobu fune wa? Nai. nai. Nai nai nai nai Sekai wo sukuu tabi ni deru ki wa? Nai. nai. Nai nai nai nai

さか: 闇に染まれ！ケーゲルシュライバー！そら: 焼き上げろ！シュヴァルツヴァルトブロート！まふ: いっぱい冷やせ！レイゾウコ！うら: これが俺の最大奥義インフィニティ・インパクト！そら: はぁ？さか: はぁ？まふ: はぁぁぁぁああああ？？うら:ぴょまえらああああああああああああああ Saka: Yami ni somare! KUUGERUSHURAIBAA! [lol wtf] Sora: Yaki agero! SHUVAARUTSUVAARUTOBUROOTO! [ohmygod] Mafu: Ippai hiyase! REIZOUKO! Ura: Kore ga ore no saidai ougi INFINITI INPAKUTO! SoraSakaMafu: Haa? Haaa? HaaaAAAA? Ura: Omaeraaaaaaaa

まふ: 世界の果てのその向こうでもしも魔王を倒したらエンドロールが流れたらボクらの明日はどこに？ Mafu: Sekai no hate no sono mukoude moshimo maou wo taoshitara ENDO RORU ga nagaretara bokura no asu wa dokoni?

やっぱりやだやだ僕が先頭だーい最初の街から進まない「ハイハイ！」１×４が０未満もう１００年が過ぎたうらさか:「うおおおおおおおおおおお！」それでもいいかな悪くはないな退屈しのぎにはなるもんな「ハイハイ！」一生旅していたいから君と夜更かししてＲＰＧ Yappari yada yada boku ga sentoudai saisho no machikara susumanai - haihai Ichi kakeru yon ga zero miman mou hyakunen ga sugita UraSaka: -uoooooooo- Soredemo ii kana waruku wa naina taikutsushi no gini wa naru monna - haihai Isshou tabishiteitaikara kimi to yofu kashite R-P-G

#ロールプレイングゲーム #role-playing game #Utaite #soramafuurasakata #soraru #mafumafu #aho no sakata #uratanuki #lyrics #romaji #そらまふうらさか #そらる #まふまふ #あほの坂田 #うらたぬき

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ambeann · 4 years

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MAMAMOO - HIP-Japanese ver.- Lyrics 歌詞

[Kanji + Romaji] MAMAMOO - HIP-Japanese ver.- 歌詞 [Album] reality in BLACK-Japanese Edition- Artist: MAMAMOO Genre: J-Pop Release Date: 2020.03.11 ℗ JVCKENWOOD Victor Entertainment Lyricist: Kim Do Hoon(RBW), Park Woo Sang(RBW), Hwa Sa, 日本語詞：Shoko Fujibayashi Composer: Kim Do Hoon(RBW), Park Woo Sang(RBW), Hwa Sa

Romaji All wanna be is trendy suki ni erabu (Kick it) kao kata ashi made HIP he Do it do it like me do it mane o shite kick it Clapping Clapping minna de hip! I love you dō iwareta tte ne Respect you nani o shita tte ne sō dokidoki de shisen mo bashibashi de medatte tai janai? yoyū sugiru taido wa Veteran Success mittsuboshi desho? mishuran dare yori haya aruki Guarantee ofushizun wasurechatta no Rewind All wanna be is trendy suki ni erabu (Kick it) kao kata ashi made HIP HIP HIP HIP Pipipi mondaishi my fashion sawagisugi! tada no akushon mata click me click me korizu ni zoom Close up close up close up Hip he HIP HIP kao kata ashi HIP! Hip HIP, HIP HIP HIP HIP he HIP HIP kao kata ashi HIP! Hip HIP HIP HIP he HIP (attention) doko de demo (reflection) kagayakeru anata wa orijinaru demo naze mata sora ni tsuba haku? (kaatu!) <![CDATA[ (adsbygoogle = window.adsbygoogle || []).push ({}); ]]> enjō wa gyaku ni kansha makeinu ni agenai One Chance kyōjinna mentaru sōchaku mō tsugi naru arubamu junbi All you wanna be is trendy chōhatsu Gimmick dame? so yu ko wa o tomodachi HIP! Hip HIP HIP Pipipi mondaishi my fashion s awagisugi! tada no akushon mata click me click me korizu ni zoom Close up close up close up Hip he HIP HIP kao kata ashi HIP! Hip HIP, HIP HIP HIP HIP he HIP HIP kao kata ashi HIP! Hip HIP HIP HIP he HIP yabureta T tsukidasu Lip Oily Hair kankei nai wa yabureta T tsukidasu Lips betatsuku a tashi nara HIP yabureta T misechau panti Oily Hair kankei nai wa yabureta T misechau panti betatsuku atashi nara HIP Pipipi mondaishi my fashion sawagisugi! tada no akushon mata click me click me korizu ni zoom Close up close up close up Hip he HIP HIP kao kata ashi HIP! Hip HIP, HIP HIP HIP HIP he HIP HIP kao kata ashi HIP! Hip HIP HIP HIP he HIP Kanji all wanna be is trendy 好きに選ぶ(Kick it) 顔　肩　脚まで HIPへ do it do it like me do it 真似をしてkick it clapping clapping みんなでhip！ I love you　どう言われたってね respect you　何をしたってねそうドキドキで　視線もバシバシで目立ってたいじゃない？余裕すぎる態度はveteran success三つ星でしょ？ミシュラン誰より早歩きguaranteeオフシーズン忘れちゃったのRewind all wanna be is trendy 好きに選ぶ(Kick it) 顔　肩　脚まで HIP HIP HIP HIP ピピピ　問題視 my fashion 騒ぎすぎ！ただのアクションまたclick me click me　懲りずにzoom close up close up close up HIP へ HIP HIP 顔　肩　脚 HIP！ HIP HIP, HIP HIP HIP HIP へHIP HIP <![CDATA[ (adsbygoogle = window.adsbygoogle || []).push ({}); ]]> 顔　肩　脚 HIP！ HIP HIP HIP HIP へHIP (attention)どこででも (reflection)輝けるあなたはオリジナルでもなぜまた空に　唾吐く？(カートゥ！) 炎上は逆に感謝負け犬にあげない One Chance 強靭なメンタル装着もう次なるアルバム準備 all you wanna be is trendy 挑発gimmick　ダメ？そーゆー子はおトモダチ HIP！ HIP HIP HIP ピピピ　問題視 my fashion 騒ぎすぎ！ただのアクションまたclick me click me　懲りずにzoom close up close up close up HIP へ HIP HIP 顔　肩　脚 HIP！ HIP HIP, HIP HIP HIP HIP へ HIP HIP 顔　肩　脚 HIP！ HIP HIP HIP HIP へ HIP 破れた T 突き出すLip Oily Hair 関係ないわ破れた T 突き出すLips ベタつくあたしならHIP 破れた T 見せちゃうパンティ Oily Hair 関係ないわ破れた T 見せちゃうパンティベタつくあたしならHIP ピピピ　問題視 my fashion 騒ぎすぎ！ただのアクションまたclick me click me　懲りずにzoom close up close up close up HIP へ HIP HIP 顔　肩　脚 HIP！ HIP HIP, HIP HIP HIP HIP へ HIP HIP 顔　肩　脚 HIP！ HIP HIP HIP HIP へ HIP English Translation N/A Source: uta-net Romaji: K-Lyrics For You English Translation: N/A K-Lyrics For You Lyrics, Korean Song, Kpop Song, Kpops Lyrics, Korean Lyrics from MAMAMOO - HIP-Japanese ver.- Lyrics 歌詞 http://sinkpop.blogspot.com/2020/03/mamamoo-hip-japanese-ver-lyrics.html Korean Song Lyrics Kpop Artis Korean Boyband Korean Girlband from Blogger Lirik Lagu Korea MAMAMOO - HIP-Japanese ver.- Lyrics 歌詞 http://kpopslyric.blogspot.com/2020/03/mamamoo-hip-japanese-ver-lyrics.html

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