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pikahlua · 7 months

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MHA Chapter 406 spoilers translations

This week’s initial tentative super rough/literal translations under the cut.

1 セントラル病院前鎮圧完了！セントラルびょういんまえちんあつかんりょう！ SENTORARU byouin mae chin'atsu kanryou! "Suppression in front of Central Hospital complete!"

tagline 1 各地の奮戦が希望をつなぐ‼︎ かくちのふんせんがきぼうをつなぐ‼︎ kakuchi no funsen ga kibou wo tsunagu!! The struggles of various places connect hope!!

2 怪我人のトリアージと逮捕者の移送中！けがにんのトリアージとたいほしゃのいそうちゅう！ keganin no TORIAAJI to taihosha no isouchuu! "Triage of the injured and transport of the arrested in progress!"

3 奥渡島制圧完了‼︎ オクトじませいあつかんりょう‼︎ OKUTO-jima seiatsu kanryou!! "Suppression at Octo Island complete!"

tagline 2 No.406　摑め‼︎おまえの"個性"　堀越耕平ナンバー406　つかめ‼︎おまえの"こせい"　ほりこしこうへい NANBAA 406 tsukame!! omae no "kosei" Horikoshi Kouhei No. 406 Grasp*!! Your quirk Kouhei Horikoshi (*Note: This "grasp" can mean both to literally hold something and to comprehend/wrap one's head around something.)

4 分断作戦決起点制圧完了！ぶんだんさくせんけっきてんせいあつかんりょう！ bundan sakusen kekkiten seiatsu kanryou! "Suppression of the division strategy's starting point complete!"

5 怪我人の救出継続中！けがにんのきゅうしゅつけいぞくちゅう！ keganin no kyuushutsu keizokuchuu! "Continued rescue of injured persons in progress!"

6 国立多古場競技場継戦中‼︎ こくりつたこばきょうぎじょうけいせんちゅう‼︎ kokuritsu takoba kyougijou keisenchuu!! "National Takoba Arena continued battle in progress!!"

1 Mr.スケプティック確保！移送中です‼︎ ミスタースケプティックかくほ！いそうちゅうです‼︎ MISUTAA SUKEPUTIKKU kakuho! isouchuu desu!! "Mr. Skeptic secured! His transfer is in progress!!"

2 避難システムによる士傑への避難完了！ひなんシステムによるしけつへのひなんかんりょう！ hinan SHISUTEMU ni yoru shiketsu e no hinan kanryou! "Evacuation to Shiketsu by way of evacuation system complete!"

3 停止したブロックの避難民保護に出動中！ていししたブロックのひなんみんほごにしゅつどうちゅう！ teishi shita BUROKKU no hinanmin hogo ni shutsudouchuu! "Dispatch to protect the evacuees of the stopped blocks in progress!"

4 蛇腔病院跡地制圧完了！じゃくうびょういんあとちせいあつかんりょう！ jakuu byouin atochi seiatsu kanryou! "Suppression of the ruins at Jakuu Hospital complete!"

5 黒霧！イレーザーヘッドとプレゼントマイクと共に消息不明！くろぎり！イレーザーヘッドとプレゼントマイクとともにしょうそくふめい！ Kurogiri! IREEZAA HEDDO to PURESENTO MAIKU to tomo ni shousoku fumei! "Kurogiri! And Eraser Head and Present Mic with him, whereabouts unknown!"

6 この総力戦は最終的にこのそうりょくせんはさいしゅうてきに kono souryokusen wa saishuuteki ni This all-out war will eventually

7 緑谷出久を信じる戦いになるみどりやいずくをしんじるたたかいになる Midoriya Izuku wo shinjiru tatakai ni naru become a battle of believing in Izuku Midoriya. (Note: As per what I wrote in chapter 379, I would probably contextually read lines 6-7 as something like “This all-out war will come down to us trusting in Izuku Midoriya.”)

8 緑谷… みどりや… Midoriya... Midoriya...

9 出久… いずく… Izuku... Izuku...

1 疾い…！はやい…！ hayai...! "[So] fast...!"

2 あいつは死の間際… あいつはしのまぎわ… aitsu wa shi no magiwa... "That guy was on the verge of death..."

3 瞬間ではあったが… しゅんかんではあったが… shunkan de wa atta ga... "It was [for just] a moment, but..."

4 死柄木すら翻弄する動きを見せた… しがらきすらほんろうするうごきをみせた… Shigaraki sura honrou suru ugoki wo miseta... "He showed movement that made sport of even Shigaraki..."

1-2 あいつは何かを摑みかけている途中だった…！あいつはなにかをつかみかけているとちゅうだった…！ aitsu wa nani ka wo tsukami kakate iru tochuu datta...! "He was in the middle of grasping* something...!" (*Note: Again, this is that word that means "grasp" and "comprehend.")

3 この"副作用"を活かせこの"ふくさよう"をいかせ kono "fukusayou" wo ikase Take advantage of this "side effect"

4 もっと！ motto! more!

5 まだ！もっと‼︎ mada! motto!! Still! More!!

6-7 もういい… mou ii... "Enough..."

8 後にするあとにする ato ni suru "Leave him for later."

1 …いいさ ...ii sa "...It's fine."

2 壊すだけだ何度でも更にこわすだけだなんどでもさらに kowasu dake da nando demo sara ni "I'll just break him however many more times even further."

3 距離を取って"危機感知"で何とか凌いできたきょりをとって"4TH"でなんとかしのいできた kyori wo totte "4TH (kanji: kiki kanchi)" de nan toka shinoi dekita I started to somehow pull through by keeping my distance with the "4th (read as: Danger Sense)."

4 再生＋即死持ち＋前より強化されている肉体にどう対処するか…答えは見つからなかった… さいせい＋そくしもち＋まえよりきょうかされているにくたいにどうたいしょするか…こたえはみつからなかった… saisei + sokushi mochi + mae yori kyouka sarete iru nikutai ni dou taisho suru ka...kotae wa mitsukaranakatta... As for how to deal with his regeneration + instant death[-inflicting ability] + his body strengthened more than it was before...I couldn't find an answer...

5 "変速"は発動したら最後…発動時間に関わらず切った途端反動で体が動かなくなる "2ND"ははつどうしたらさいご…はつどうじかんにかかわらずきったとたんはんどうでからだがうごかなくなる "2ND (kanji: hensoku)" wa hatsudou shitara saigo...hatsudou jikan ni kakawarazu kitta totan handou de karada ga ugokanaku naru If I activate the "2nd (read as: Gear Shift)," it'll be the last time... Regardless of the time for which it's activated, as soon as it's turned off, my body will stop moving due to the immediate recoil.

6 発動した以上は… はつどうしたいじょうは… hatsudou shita ijou wa... Now that I've activated it...

7 今度こそ最後ーーー… こんどこそさいごーーー… kondo koso saigo---... "This time is the last---..."

1 更にさらに sara ni Go

1 向こうへむこうへ mukou e beyond

1 まだ mada "Am I still"

small text 更に向こうへってかさらにむこうへってか sara ni mukou e tte ka "[They] say 'Go beyond,' right?"

2 モブか…！ MOBU ka...! "an extra...?!"

3 エンデヴァーや"黒影"程の圧力も無いエンデヴァーや"ダークシャドウ"ほどのあつりょくもない ENDEVAA ya "DAAKU SHADOU" hodo no atsuryoku mo nai It's not as much pressure as with those like Endeavor and Dark Shadow.

4 後にすればいいあとにすればいい ato ni sureba ii It's fine to leave him for later.

5 オールマイトと比ぶべくもないオールマイトとくらぶべくもない OORU MAITO to kurabu beku mo nai He can't compare to All Might.

6 これ以上　巻き戻しを進行させてまで係う程の価値もこれいじょう　まきもどしをしんこうさせてまでかかずらうほどのかちも kore ijou makimodoshi wo shinkou sasete made kakazurau hodo no kachi mo To let the rewind proceed more than this, there's no value

7 意味もいみも imi mo nor meaning

8 縁もえにしも nor connection* (*Note: This is the same word All Might uses in chapter 396 to refer to a connection between him and Dave in the USA; it's a word that refers to some mysterious force such as destiny that binds two people together.)

9-10 あの石塊にはないあのいしころにはない ano ishikoro ni wa nai!! in it with that pebble!!

(Note: For speech bubbles 6-10, you could combine them all together into something more cohesive like this: "There's no value or meaning or connection with that pebble to merit letting him rewind me any more than this!!" And yes, Katsuki is the "pebble," which is a reference back to chapter 7 when Katsuki called Izuku a "pebble in his path.")

1 わかってきた wakatte kita I've come to understand.

2 痛みだいたみだ itami da It's pain.

3 掌に溜めた汗粒がてのひらにためたあせつぶが tenohira ni tameta asetsubu ga [The pain of] the beads of sweat that collected on my palms

4 全身を駆け巡ぐる痛みぜんしんをかけめぐるいたみ zenshin wo kakemeguru itami running through my entire body,

5 吹き出る痛みふきでるいたみ fukideru itami pain that spouts* out, (Note: This word to describe the pain can mean: "gush out, spout out, spurt out" but it can also mean "send out shoots" like for plant roots. I feel like that description is relevant given the imagery we see on this page. Considering the next line, I think he's referring to pain that erupts from different individual points on his body.)

6-7 その位置間隔！そのいちかんかく！ sono ichi kankaku! and the space between those positions! (Note: He's talking about recognizing the physical space between the different points of pain on his body.)

8 痛みで摑めいたみでつかめ itami de tsukame Grasp* it with pain, (Note: Again, this is that word that means "grasp" in the sense of "comprehend.")

9 誘爆のタイミング！ゆうばくのタイミング！ yuubaku no TAIMINGU! the timing of the secondary explosions! (Note: I think he's saying he can predict when and where the little explosions that surround his body will happen by paying attention to the locations of the pains on his body and thus he can utilize those explosions too.)

1 何なんだなんなんだ nan nanda What is this?

2 痛ったァハハハ疾っいったァハハハはやっ ittaAHAHAHA haya "It hurts-A-HAHAHA so fast!" (Note: Yes, he's breaking into maniacal laughter at the end of his words. Also a fun phonetic bonus: the Japanese word for "so fast" here is "haya," so he's saying "hahaha-haya!" He sounds battle-crazy, or just plain crazy.)

3 すぎて止まんねえ〜〜〜‼︎ すぎてやまんねえ〜〜〜‼︎ sugite yamannee~~~!! "Too fast, can't sto~o~o~p!!"

4 何なんだこいつはなんなんだこいつは nan nanda koitsu wa What's with this guy?

1 なぁ　出久　俺まだおまえに追いつけるかななぁ　いずく　おれまだおまえにおいつけるかな naa Izuku ore mada omai ni oitsukeru ka na Hey, Izuku, can I still catch up to you?

2 なんでだろうなあ nande darou naa I wonder why?

3 なんか今追い越せる気がするなんかいまおいこせるきがする nanka ima oikoseru ki ga suru I feel like I can surpass [you] now.

4 あんた… anta... "Honey..."

5 勝己が…！かつきが…！ Katsuki ga...! "Katsuki is...!"

6 ダメだ…見れないよ…‼︎だって相手は… ダメだ…みれないよ…‼︎だってあいては… DAME da...mirenai yo...!! datte aite wa... "No...I can't watch...!! Because his opponent is..."

7 見なきゃ… みなきゃ… minakya... "We have to watch..."

8 だって…！ datte...! "because...!"

1 だってあの子きっとだってあのこきっと datte ano ko kitto "Because that child is surely"

2 いつもみたいに笑ってる筈だから…！いつもみたいにわらってるはずだから…！ itsumo mitai ni waratteru hazu dakara...! "smiling like he always does...!"

3 さっきから…！何故この石塊にさっきから…！なぜこのいしころに sakki kara...! naze kono ishikoro ni Since a while ago...! Why is this pebble...?

4 何故僕はオールマイト以上のなぜぼくはオールマイトいじょうの naze boku wa OORU MAITO ijou no Why am I...even more than with All Might...? (Note: The verb at the end of the sentence is cut off here making this sound awkward in English. He's basically wondering how Katsuki is irritating him even more than All Might did.)

1 そうだ… 似ているそうだ… にている sou da...nite iru That's it...he resembles [that guy].

2 与一ならもういないぞ魔王… よいちならもういないぞまおう… Yoichi nara mou inai zo maou... If it's Yoichi [you're looking for], he's already gone, Demon King...

3 おまえが殺したんだおまえがころしたんだ omae ga koroshitanda Because you killed him.

4 憎しみを宿した事で鮮明に蘇る… にくしみをやどしたことでせんめいによみがえる… nikushimi wo yadoshita koto de senmei ni yomigaeru... By harboring hatred, I recall it clearly...

5 そうだ　こいつだ…こいつだったのだ sou da koitsu da...koitsu datta no da That's it, it's this guy... It was this guy.

1-3 こいつが手を差し伸べなければこいつがてをさしのべなければ koitsu ga te wo sashinobenakereba If this guy hadn't reached out his hand...

4-5 僕が最も憎いのはぼくがもっともにくいのは boku ga motto mo nikui no wa What I hate most of all is...

1 おまえのせいだ駆藤‼︎ おまえのせいだくどう‼︎ omae no sei da Kudou!! "It's because of you, Kudou!!" (Note: Because of the order of words in Japanese, you can also read this like the end to the last sentence on the previous page: "What I hate most of all is YOU [Kudou].")

2 ボケが来たかよ‼︎ ボケがきたかよ‼︎ BOKE ga kita ka yo!! "So an old geezer is here!!" (Note: This is the same grammar as All Might's "I am here!")

3 俺ァ爆豪のかっちゃんだバァアカ！おれァばくごうのかっちゃんだバァアカ！ oreA Bakugou no Kacchan da BAAAKA! "I'm Kacchan of the Bakugou clan*, moron!" (*Note: "Bakugou no Kacchan" literally means "Kacchan of Bakugou/Kacchan of the Bakugous," but the grammar is an archaic style from before Japan's family registration system created family names in the late 1800's. The structure would read as "[Name] of the [clan name]." The literal word "clan" does not appear in the sentence above, but I've included it to get the archaic style to make sense in English. I should also mention that it's possible Katsuki is introducing himself here as "Kacchan" as an insult to AFO's intelligence. Like, "Oh you're a little kid/senile old man? My real name's probably too difficult for you. Here, call me Kacchan, dumbass.")

tagline 今、世界が少年を見る‼︎ いま、せかいがしょうねんをみる‼︎ ima, sekai ga shounen wo miru!! Now, the world sees the young man!!

#my hero academia leak translations #mha 406 #bnha 406 #my hero academia manga spoilers #final arc spoilers #kacchan of the bakugous #that one anime trope where the hero goes mad with power or something and goes so off the rails the villain freaks the fuck out #there are a LOT of notes this chapter too

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nihongonotabi · 14 days

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Why do i-adjectives and na-adjectives conjugate so differently?

In Japanese, adjectives are categorized into two main types: i-adjectives and na-adjectives. These two types differ in their forms and the way they conjugate.

I-adjectives end with the syllable "い" (i) in their base form and they can directly modify nouns without needing any additional particles. This is how they conjugate:

Base Form: 高い (takai) - "high" or "expensive"

Negative: 高くない (takakunai) - "not high" or "not expensive"

Past: 高かった (takakatta) - "was high" or "was expensive"

Past Negative: 高くなかった (takakunakatta) - "was not high" or "was not expensive"

Na-adjectives usually end with a consonant followed by a vowel other than "い" in their base form. When directly modifying a noun, they must be followed by the particle "な" (na). They do not conjugate in the same way as i-adjectives; instead, their conjugation often involves the copula "です" (desu) or "だ" (da). This is how they conjugate:

Base Form: きれい (kirei) - "beautiful" or "clean"

Negative: きれいではない (kirei dewa nai) / きれいじゃない (kirei ja nai) - "not beautiful" or "not clean"

Past: きれいでした (kirei deshita) - "was beautiful" or "was clean"

Past Negative: きれいではなかった (kirei dewa nakatta) / きれいじゃなかった (kirei ja nakatta) - "was not beautiful" or "was not clean"

The differences between i-adjectives and na-adjectives in Japanese stem from their historical and linguistic origins. I-adjectives are part of the native Japanese vocabulary, known as "和語" (wago), and their conjugation pattern can be traced back to classical Japanese. In contrast, many na-adjectives originated from Chinese loanwords (known as "漢語" or kango) and nouns. When Chinese words entered Japanese, they often carried descriptive qualities but did not fit neatly into the existing adjective conjugation system. As a result, they were adapted in a way that treated them more like nouns that required a particle ("な") to function adjectivally. Na-adjectives can be considered "nominal adjectives" because they behave similarly to nouns. They need the copula "です" or "だ" to form predicates, and they use "な" to modify nouns, indicating their grammatical status is closer to nouns than to i-adjectives.

In conclusion, the distinction between i-adjectives and na-adjectives in Japanese is rooted in historical and logical reasons: this division not only reflects the historical integration of foreign elements into Japanese but also maintains a logical grammatical structure that differentiates between native and adapted forms.

#日本語 #japanese language #learning japanese

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gentleharu · 2 years

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Akihiko's polite speech during the confession scene is such a sweet detail in Japanese, especially given how Akihiko and Haruki normally speak with one another.

Asian languages tend to have polite versions of speech that sadly can get lost in translation when translated to English. Japanese is even one of those language systems that officially have so-called "polite speech" as opposed to "casual speech".

In this scene, Akihiko uses words and phrases like "ii desu ka" and "kudasai". "Ii" means "good" and is a neutral word. The "desu ka" part is formal/polite. "Desu" is something like the English "is" and can be used in casual speech, but "ka" is a polite speech question marker—that is, it tells you that the person is asking a question regardless of their tone (if the person is speaking) or punctuation ("ka" is usually punctuated with a period). The casual version of this question would have been, "Sawatte (touch) mo ii?" without the "desu ka" part, basically meaning, "Is it good/okay to touch [you]?"

Likewise, "Ore to (with me) tsukiatte (go out/date) kudasai (please)" is politely asking someone to go out with you. Technically, you can ask someone to do something in casual speech by dropping "kudasai" and just using the imperative version of a word ("tsukiau" is the verb meaning "to go out with", and "tsukiatte" is the form it takes if you're telling/asking someone to do that action) would be the casual version.

All of this is very different to how Akihiko and Haruki usually talk with one another. For example:

Here, Akihiko is saying, "Warui (my bad) ... kyou (today) omae'nchi de ii (is it okay if I go to your house)?" Note that it's in casual speech. In fact, Akihiko has a lazy way of talking so he tends to slur words together like "omae no (your) uchi (home)". He does this a lot with Haruki.

And here, Haruki is asking, "Akihiko, ocha (tea) o katte (bought) kureta (did do [for me])?" The question is also in casual speech.

And then their text exchange, Akihiko asks, "Mada okiteru (still awake)?" and Haruki responds with "Okiteru (still awake) yo", with "yo" even being like a casual/light/friendly ending to his statement. Politely, this would have been, "Mada okite imasu (awake still /polite form) ka," and "Hai (yes), okite imasu (still awake /polite form)."

Akihiko's later, "Tometekun'ne?" is once again like a shortened version of "tometekunai (won't allow to stay over) ne?" like, "Won't you let me stay over?"

Basically, Akihiko speaks very casually with Haruki. He doesn't even use honorifics with Haruki even when Haruki is older and a senior in the same university. (Likely he might have used one before? But at some point dropped it when he and Haruki became friends/bandmates.)

But during the confession scene, Akihiko had been working hard to be someone Haruki would approve of. He wasn't just asking out a friend; he was asking out somebody he admired, whom he hurt and who had every right to refuse him. He was on his knees, humbling himself in front of Haruki, and he was shaking with nerves.

In fact, Akihiko legit had an entire speech going, but Haruki spoke as usual—he probably found Akihiko and his tone to be too intense lol—and reverted their exchange back to something less formal.

Here's their full scene:

Haruki goes, "Ii yo" and it's his usual way of speaking with Akihiko (see: text messages exchange). Akihiko, surprised presumably by how easily Haruki agreed after everything that happened between them, dropped the formal speech and just goes, "Maji (serious)?"

And honestly, same.

#meta #akiharu #confession scene #nakayama haruki #kaji akihiko #given #given anime #oh haruki #way too easy

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boxx-sama · 8 months

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The Usage of a Rotary Telephone in Ai Nan Desu Yo

This was just something I happened to notice when rewatching the MV!

As pictured here, we can see Mahiru using a rotary telephone to communicate with her boyfriend. It may not be of much significance to some, but there is/could be a deeper meaning to this specific phone being used, rather than a modern one!

This specific one happens to be a vintage telephone. The development of rotary telephones dates back to the late 19th century, which is all the way back in the 1800s!

The concept of a rotary dial for selecting numbers on a telephone was first proposed by inventors and engineers in the 1870s. Almon Strowger, an undertaker from Kansas City, is often credited with inventing the first practical rotary dial telephone system in the late 19th century. His system aimed to eliminate the need for human operators to manually connect calls.

As amazing as the invention itself is, however, it did have flaws, especially considering the time period this was invented in! There wasn't modern technology, so using this phone had some issues.

Error-Prone: Rotary dialing was EXTREMELY susceptible to dialing errors! Users could miscount the number of digits, skip a digit accidentally, or make other mistakes while dialing.

Mechanical Complexity: Rotary phones were mechanical devices with many moving parts, which made them more prone to wear and tear. This complexity also meant that maintenance and repairs could be more challenging compared to modern electronic phones.

Lack of Advanced Features: Rotary telephones were designed primarily for basic voice communication! They lacked many of the advanced features that modern phones offer, such as caller ID, call waiting, voicemail, and speed dial.

Considering some of these, it is rather odd, isn't it? Mahiru is clearly pictured to be taking inspiration from modern blogs and such for her perfect journey of love.

So how is this particularly standout in any way?

Well, it's simple! Rotary telephones had many communication issues. They were difficult to handle, very slow, and had to be used in specific ways. (Dialing certain numbers, etc.)

I think that the usage of a rotary telephone in such a modern world that Ai Nan Desu Yo portrays might just be Mahiru's lack of communication with her boyfriend when it came to more serious matters!

This also may be a stretch on my part, but even the lyrics at this part of the MV kind of add to my small theory here.

Ring ring, I’m calling you in the middle of the night Forcing you to wake up, and I say “Good Morning!” But I fall asleep before you, I really feel bad you know? We can both feel lonely sometimes, but wonder if you’ll get angry soon I’m going to start relying on you if you’re kind to me, so please forgive me, thanks!

It just feels like there's some sort of communication issue here, if that makes sense. Mahiru is being a biiiiit over-reliant and wishing for forgiveness from her boyfriend due to her clear needs, and it's unsure whether they were actually met or not. Daisuki kind of paints a clearer picture on this with the whole cake feeding metaphor, but that may be a theory for another time.

It can also be noted that Mahiru is not happy at all when she uses the telephone, implying that she is also stressed, despite sharing the feeling of love with her boyfriend.

But, to her, it wasn't a big issue at all! Because in the end, all of this is love in of itself. And even if their communication is flimsy, surely love will power through.

Again, using the lyrics to support this:

If you don’t hug me, even our hearts will start drifting apart

This is a claim of responsibility from the two of us with matching love

We fought sometimes, I was happy to get hurt Let’s have matching pain, this sickness is pretty bad?

Mahiru seems to idealize love and the idea of being together to an unhealthy point, believing that if she can experience all of love's ups and downs and remain with her S/O, then everything is all okay in the end! That being said, I do NOT see her as completely naive, and she definitely had some awareness in the situation.

I guess that's all for my little theory! Let me know what you guys thought of it.

#box talks #milgram #mahiru shiina #ai nan desu yo #milgram project #milgram theory #i love scanning the smallest details in my favorite characters' mvs #may have to find something for backdraft too because #mahiru and fuuta my beloveds

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yurimother · 1 year

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'Yuri Is My Job!' Anime Premieres

On Thursday, April 6, the first episode of Passione and Studio Lings Yuri anime Yuri Is My Job! (Watashi no Yuri wa Oshigoto Desu!) premiered in Japan on AT-X and streamed on Crunchyroll internationally. The anime is based on the manga of the same name by Miman.

The series description on Crunchyroll reads:

Worried about her reputation, Hime covers shifts for a cafe manager she accidentally injures to maintain her picture-perfect princess image. But this cafe has a peculiar theme—private school. To put on her best barista schoolgirl act, she’ll be trained by the most graceful girl there, Mitsuki. Under her guidance, Hime’s feelings start to brew, but there’s just one problem—Mitsuki can’t stand her!

Yuri Is My Job! parodies themes and elements of shoujo and Class-S Yuri works, such as the catholic school setting of the cafe, the use of a foreign language, and the "Schwestern" system between girls of the fictional school.

The anime stars Yui Ogura as Hime Shiraki and Sumire Uesaka as Mitsuki Yano. Additional cast includes:

Minami Tanaka

Makoto Koichi

Yukari Tamura

Asami Seto

The anime is directed by Hijiri Sanpei, with script supervision by Naoki Hayashi and character designs by Taisuke Iwasaki.

The original Yuri is My Job! manga began serializing in Ichijinsha’s Comic Yuri Hime in November 2016. Ichijinsha publishes 11 bound volumes in Japanese. Kodansha Licenses the manga in English and will release the 11th translated volume in June.

Crunchyroll is streaming the series internationally with subtitles available in English, Spanish, German, French, Italian, Portuguese, and Russian. New episodes are released every Thursday. You can stream the first episode today.

#yuri #anime #yuri is my job!#girls love #lgbt #lgbtq #lgbtq+#yuri anime #queer #gay #lesbian #lesbians #gl #romance #manga

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electronickingdomfox · 3 months

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"Black Fire" review

Novel from 1983 by Sonni Cooper, and as far as I know, the only TOS novel from this author. This one was pretty fun, fast-paced, and a real page-turner. It's also notorious for being totally nuts, and having Spock going rogue and doing all sorts of crazy things. The intro was written by Theodore Sturgeon, no less. It's also very, veeeery spirk-heavy (and so far, the only K/S novel I've read that seems to get their relationship right, without going over-the-top).

Spock is the central character, and for the most part, the story follows his solo adventures, though Scotty shares some of these exploits in the early chapters. Amazingly, and despite all the unusual stuff that Spock gets involved with, he manages to stay believable. The other characters are all well-written too, even if they take a background place. And the same goes for the original ones, in particular Desus, the Romulan befriended by Spock.

The story takes place shortly before TMP. One thing that surprised me, is that this novel doesn't seem afraid to modify canon in substantial ways. Most of these books are more timid when playing with the characters, and focus on self-contained adventures that have little impact on the whole. Main characters are rarely put in real danger, or suffer grave injuries. Here, on the other hand, we have the entire primary hull of the Enterprise being destroyed and jettisoned in the very first chapter (a year before The Search for Spock blew the ship to pieces). The TMP uniforms are introduced already by the end of the five-year mission. Spock suffers a disabling injury, portrayed with realism, and not resolved immediately and easily with a magic pill. Also, this book gets pretty dark at times; Spock tries to kill himself not once, but twice... And a popular guest character from the series is also killed for real.

Some spoilers below the cut:

The Enterprise is in a routine mission, training cadets fresh from the Academy, when a massive explosion in the bridge leaves the primary hull destroyed, Kirk in critical condition, Spock with a splinter lodged near his spine, and many cadets dead. The primary hull has to be evacuated and separated, while the rest of the ship limps back to a starbase. In the following investigation, Starfleet declares that everything was a mere accident. But neither Spock nor Scotty are satisfied with this answer, since nothing on the bridge could cause an explosion of such magnitude. Therefore, they travel back to the jettisoned hull to find clues.

Spock is suspicious of some new yeoman, who entered and left the bridge shortly before the explosion. In her abandoned quarters they find two clues: a piece of paper with dots, which seems to be a star chart; and a ton of depilatory cream. However, Starfleet isn't convinced by this flimsy evidence. So Spock starts the first of a long series of reckless actions, and steals a small ship with Scotty, to travel to the star system depicted in the paper. Spock is in severe pain (and having suffered a similar injury in the past myself, I can testify: he IS in pain), but leaves nonetheless before undergoing the necessary surgery (I told you Spock is nuts in this novel). Meanwhile, Kirk's still recovering and has no clue of what's going on.

When Spock and Scotty arrive at the only habitable planet of the star map, they find out that a Romulan and Klingon ships have also been lured to that place by similar maps. Everything was a trap, and all of them are captured by the Tomariians, and brought to their home planet in an ancient rocket. The Tomariians are short, stocky and very hairy aliens, living in an extreme cold environment. Being poor and primitive, they've turned to scavenging, adapting the most disparate technologies to expand across their sector of the galaxy. Spock and the others meet the Tomariian leader, Ilsa. The one who disguised herself as a yeoman to plant the explosive in the Enterprise (hence all that depilatory cream). And she takes a liking to Spock, just as every other woman in this book.

The Tomariians plan to test their captives' strenght by sending them to different battlefields. This way they could determine the weaknesses of Federation members, Klingons and Romulans, in order to expand later through their territories. Spock's injury worsens, to the point that he's left immobile from waist down. But due to her attraction for him, Ilsa spares his life. Meanwhile, Kirk has found clues about Spock and Scotty's whereabouts, so finally, the Enterprise rescues them in the nick of time.

Back in the ship, Spock has to fulfill the promise he made to the Romulan woman captured with him: to warn the Empire of the Tomariian threat, should she not survive. After this, Spock has to face a court-martial for all his offenses: stealing a starship, and above all, establishing secret communications with the Romulan and Klingon empires. Charged with treason, he's sent to prison, where he meets and befriends the Romulan pirate Desus.

I won't spoil anything more (this is about halfway through the novel). Suffice to say that, after this, Spock gets involved in a prison break. He becomes a pirate by the name of "Black Fire", and gains a following of fangirls that write love poems about him (an amusing parody of real-world fandom). And finally defects to the Romulan Empire, creating massive drama with Kirk. Of course, there's a satisfactory explanation for Spock going amok, at the end.

Spirk Meter: 10/10*: Kirk and Spock are separated most of the time and have little physical contact, but the story truly reads as a break-up/reconciliation one. Specially with the introduction of Desus as a rival for Spock's affection. In the first chapter, Kirk is partially healed by a mind meld with Spock, and sighs his name upon waking up. Then Kirk anguishes over Spock's disappearance, and risks the entire ship to go rescue him (well... and Scotty). And there's a lot of commentary about how Kirk is Spock's only close relationship, and how his defection to the Romulans is a particularly painful blow for Kirk. The whole issue of Spock's treason has Kirk on edge and in a foul mood, to the point that other crewmembers are afraid of bringing the subject in his presence. As other books with a lot of spirk content, it's difficult to pinpoint single scenes, since it's a general theme all over the place. Add to this, Spock's absolute indiference towards all the women swooning around him.

Then there's, of course, Spock and Desus' extremely close friendship, said to rival that with Kirk. At one point, Desus reads aloud some of the love poems that Spock has inspired as "Black Fire". And one has to wonder if he isn't adressing the words to Spock himself.

McCoy doesn't appear much in the novel. But still gets some McKirk and Spones. In the beginning, he's devastated by Kirk's serious injuries and his inability to cure him, crying about the prospect of losing "the man he both admired and loved". Then, at the end, McCoy asks Spock to sign his book of love (and erotic) poems dedicated to him (!!!???), as an excited fangirl. "To belong to this man of fire, if only for a moment. - My flaming love." he reads aloud. And Spock even gives him his pirate earring as a gift. The novel closes with these lines: The black jewel gleamed its strange luminescence in McCoy's palm, but it was no match for the gleam in Spock's dark smiling eyes.

*A 10 in this scale is the most obvious spirk moments in TOS. Think of the back massage, "You make me believe in miracles", or "Amok Time" for example.

#star trek novels #novel review #star trek tos #spirk #k/s #spones #mckirk

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scolek · 5 months

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youtube

pLEASE. watch this. pure chaos.

an important thing to note is that hibiki performed usotsuki wa tomorrow no hajimari immediately before this and did not do a making drama during that performance.

#idol land pripara #pripara #system of a desu #Youtube

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mirukiamauri · 4 months

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Welcome to Ann☆'s lore post!!

I figured out that I feel the need to tell the story behind my oc so I can present it to people clearly!

Ann is basically me but also not me, like many people's mychara. She's basically me in an ideal PriPara Universe™️. So yeah basically the oc.

Ann is a lovely type idol whose preferred brand is Fantasy Time. She's adult year old and her character phrase is "um-um!" (used when she agrees deeply with others or with what she says; because I'm really shy, I actually “umum” instead of saying “yes” irl and I got people telling me it's a peculiar way to express agreement, so I thought it was quite funny as a character phrase). Born June 3rd. Her motifs are angels, bunnies and stars. Her favorite food is the fluffy and round angel food cake. Her image color is marshmallow blue (sub is white). The coord she usually wears in Pripara is the Kirakira Yumeme Coord.

Inside Idol Land Ann has the appellation of "Angelic Idol": she's gentle, soft spoken, slow, a bit childish in the most moe way possible (e.g. Kirara Hanazono). It seems like she has her head somewhere alse all the time, so much so that sometimes she forgets about Promises she signed up for and you'll find her in the Idol Land forest wandering around. Unfortunately her bunny manager is a literal ばぶ baby, so that also doesn't help her that much. Her idol goal is to spread kindness and to reach the hearts of those who are in need, especially children. She's easy to approach, a great care giver and will partake to any plan, even the most risky one (and she'll come back mysteriously all safe and sound…).

Outside Pripara Ann

As mentioned Ann is an adult. She aspires to become a children book writer and illustrator. Despite sharing the same naiveness of her IL persona, real world Ann is quiet, reserved and speak very few words to people. Because of this she thinks her attitude might scary strangers away, so she uses her Pripara counterpart to archive her goal to take care of others. She also wears big round white glasses but I don't like how I draw them so you have to take her glass-less! lol She shares her apartment with a pet chicken named Piyo-kun who will log in Idol Land to cheer on her lives (system desu!). She started Pripara during her first years of high school, were involved in the great memory cancellation thing, but gained her memory back when she found an old self-produced picture book about Pripara.

#I might redo the post with a better graphic one day #this is for now a quick oc about for other people ✨#idol land pripara

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pretty-idol-hell · 7 months

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So I just managed to join a promise in Junon's PR. Here's the facts:

It is indeed a PR as it should be and can be used for grinding.

It triggers Rosette Jewel's Making Drama as it should.

At Cyalume Change it turns into KANON'S version of the Triangle Rosette Jewel CR for... SOME reason...

(But. I guess compared to some of the other errors we've gotten I can live with that...)

Also, as I've just confirmed on Twitter, apparently the 10x iine and silver idollar bonus has become PERMANENT! System desu!

#idol land pripara #lol the way they phrased it #as if they couldn't figure out how to reverse it

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yanderefairyangel · 5 months

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Ok so after receiving a very weird Anon ask, I think I must reiterate again why I insist on using the japanese version of Engage's text to make my meta

In linguistic, we learn that all language are a system of codes and sign, the letters, the spelling, the semantics. All of it is a system of communication that manifest differently depending on which part of the world you are living in. Translation's goal is to be able to translate the meaning from one of that system to the other. However, the drasctical differences between the original language and the target language (language spoken by the people for whom is destined the translated text) makes it that some phenomeon are doomed to be lost in translation, especially japanese to english.

Allow me to give you an example. So basically, in Awakening, Azure/Inigo have a support conversation with both Robin/Reflet but his support with F!Robin are different. In both, Inigo refers to Robin as ルフレさん/Reflet-san which would be translated literaly as Mr. Robin or Miss Robin. さん is an honorific. Likewise, Robin calls Inigo アズールさん/Azure-san so Mr.Inigo. Those are non existent in the English version because of adaptation. Likewise, Inigo and F!Robin both refer to each other using the 2nd person prounon あなた/anata, default.

However, Inigo also have a special event in the Hot spring scramble DLC with a completely different conversation depending on whether or not Inigo married F!Robin. And in the version in which F!Robin and Inigo are married, Inigo dropped the honorifics and only calls Robin by her name ルフレ and instead of using anata/あなた he switched to kimi/君 which is more casual. This change exist to signify something, the writers didn't changed it just because. And the likely interpretation is that it's to show how Inigo got closer to Robin and is being more casual because she is his wife. Besides, it's emphasized to be a characteristic meant to be highlighted in the context of Inigo's own characterization because F!Robin still refers to Inigo using honorifics and anata. This is something that in English cannot be rendered as such. Instead the localization tried to adapt that by having Inigo use pet names. Now where it's getting tight.

This conversation is divided into 2 part. In the second part, for like every of Robin's married DLC convos, there is a kiss scene. So after that kiss scene, Inigo, who as I pointed out, was using kimi and stop using an honorific to refer to Robin for the whole conversation, ended up saying this

アズール :うぅ…まさかそっちから来るだなんて…さすがはルフレさん。僕なんかまだまだですね。

Ahh.... I never expected you to do that... You are truly amazing Robin... I still have a long way to go.

ルフレ :どうして急に敬語なんですか？

Why are you suddenly using keigo/honnorfic language.

In this line, Inigo reverted back to call Robin ルフレさん/Reflet san and also used desu which is contrasting with how, in the entire dialogue prior to this line, he was only using casual speech and calling Robin simply by ルフレ. And when he answer Inigo just say that he wanted to "I wanted to go back to the the begining" as in go back to the past, so before the two got married and thus when Inigo was speaking to Robin in a more polite and less casual way that he is currently doing. Again, this cannot be rendered as such in English, so the english localization tried to adapt it. You can check a translation of that full dialogue offered by @four-loose-screws

This is an example of the Awakening writing team using the semantics and rules of their own language to provide a unique dialogue that contributes to characterization and romance in this dialogue. And it needs to be precised but most of Awakening's dialogue, Inigo's in particular were written by Nami Komuro, who was in charge as the scenario director for Engage. While people miscredit her as the author of Fates and Awakening's stories, she did provide character writing for both games and in Engage, this style is all the more obvious.

So back to Engage since it's mainly the game I talk about when talking about localization and using jpn text. Most of the reason why I decided to check was because I needed to give the writing a fair chance since I was really dumbfounded by so many people calling a story I found to be perfectly decent "the worst of the worst". And at that time I remember I came unto @dancerladyaqua 's post about how Alear speaks in hiragana and it immediately rang a bell and motivated me to go check the jpn version. And boi, I wasn't disappointed. I think it's fair to say that a lot of my love for Engage's story came from always making analysis for that game. And thus I noticed a lot of subtleties that sadly didn't necessarily made it in the English text.

So, keep in mind the example I gave about Inigo and Robin's conversation. Robin's line about mentionning Inigo switching to a more polite dialect was changed because it no longer made sense with how they had to adapt the dialogue for translation.

So an example of this : Veyle.

In chapter 10, when Alear realize that Veyle was the hooded girl, what they say is this :

別人？でも、あの包帯は私が巻いたものです。

あれは一体

literal translation : A different person ? But it's the bandage I putted on her. What in the world is that ?

The reason why Alear is saying that isn't so much because of Veyle's exterior appearance, but, as I mentionned in the video I made, because of Veyle's speech pattern switching between her being her regular self and her switching to her other self.

Regular Veyle uses different conjuction and expression then "Other Veyle". Regular Veyle speaks in a childish and cutesey manner. She is using "dayo" rather then "desu", much like Nil, which is meant to convey her sweet nature, and "nee". This is something Veyle also shares with Mini Anna and Tiki, to make her speech sound innocent and childish. However, "Other Veyle" is using keigo/honorific language. She is using the masu/desu conjuctions and speaks in a polite manner but it's here meant to convey her arrogance and make her sound more mature. Alear only meet Veyle a few times, sure, but her speecj pattern establishing her innocent and a bit childish personality makes it impossible for anyone to believe that regular Veyle would use the same speech as her alternate self. Likewise, imaginating Other Veyle speaking like Regular Veyle is unbelievable, her personality wouldn't match up.

The way a character speaks shows their personality, so Alear's cue here is meant to comment on how drastically different the two Veyle are acting, making it such that it's unbelievable that they are the same person. Hence what Alear means by

別人？でも、あの包帯は私が巻いたものです。

あれは一体

Why is she acting so different ? I can't believe it's the same girl I put a bandage on !

Instead the localization translated it as "No, it can't be. But... that's the bandage I used to dress her wound" which is much more literal because of course, they couldn't keep it as such knowing how rooted in the jpn text this line was.

Besides :

Both Veyle use different alphabets. Veyle is using mostly hiragana, Other Veyle is using kanji. One makes Veyle sounds more childish, the other fits with how Other Veyle have a more mature speech.

So again, the difference in how both Veyle speaks is both phonetic and alphabetic.

But because English have only one alphabet and that it's very hard to render all those nuance, the English version relied only on the performance of the voice actors.

So, indeed, looking into the japanese version is worth when it comes to point those little changes that were lost.

Also. Again, translation and localization are very different things. Mainly because of the strategy.

Most of the time, translation are sourcist which is to say that they focus on being more accurate to the original language when translating the text.

Localzation is mainly targetist. That's to say they don't care about accurency because their goal is to priozitize making the text understandble to the target language. An example of this would be the French translation of One thousand and a night by Antoine Galland where Galland will details his translation choices, and the strategy is targetist since he admits putting an emphasis on making it seems familiar to his audience rather then being accurate, hence he would censor some part of the original or try to adapt. And by adapt I mean turning a gazelle into a hind because his audience had never saw a gazelle in their life and they are both graceful animal so never mind that gazelle are bovid and not cervid or changing arabic pastries into cream pie.

However, the downside of this strategy is the possiblity that the style of the writing is lost. And I am gonna choose an example I covered recently. So remember what I said about Rafal's line in chapter 6 of the Fell Xenologue in the recent post I made analyzing the meaning of his chest ?

That's how they were translated

If we are talking about sense, yes, they are pretty accurate and all, but they feel so flat compared to the japanse text.

In the japanese version, Rafal in reality says this

"I don't understand ! I don't understand ! My chest hurts... My chest is always hurting ! Always !" (pic 1)

"My chest hurts... It still hurts so much... Big sis, you liar ! You told me that the pain would finally go away !! Yet it still hurts so much !!"

The japanese text is much more dynamic and full of emotion thanks to the repetition. The repetition of "I don't understand" resistitue much better Rafal's confusion and the pain he feels while saying this. In the same way, the repetition of "zutto !" accuentuate his inner pain and fits with how he is supposed to be trapped in a never ending circle of pain who can only repeat. Rafale use a lot of repetition because he is subjected to the repetitive pain of his chest which makes him goes insane.

Again, the repetion in pic 2 is not only meant to parallel that line, but to also shows that Rafal's pain is not over. It's also a very short, simple, dry and childish line. It's showing Rafal's instable state of mind, him being in a genuine state of despair after losing the only person that matter to him. His "Neesan" is here sounding imature to make this line strike emotionally. And the repetiton o the line "It hurts" is creating a rythm. All of those factors comes from how the sentence are constructed to show the extend of Rafal's pain and how he feels inside.

And... maybe I should say it, normally I probably wouldn't need it, but well. What I just explained is what is helping voice actor know how to read their cue. Ponctuaction and semantics's are the key to a sentence's structure because they show the tone in which a sentence needs to be read. If you compare Y.Chang and T. Eguchi's performance, you will see what I am talking about. While both are great, Y.Chang's performance is adaptated to a text that feels less violent despite it's simplicity and repetitiveness compared to how Eguchi sound like he is on the verge of his life, and no I am not exagerating. While Y.Chang's voice is quieter, Eguchi's performance is much more violent. I think you shoul really check to compare. It's really showing how the same scene can be interpreted in very different way and how much it changes how the scene feels in general. In short, the English dialogue being much less violent and dynamic then the jpn one means that the emotions are shown differently thus and read differently. You have two different intepretations of Rafal's pain because the two text indicates two different reading.

My translation is in that case for accurate to the jpn one then the English one because I tried to to render the rythm, the style of the jpn version and all the impression it evokes.

Basically a sourcist translation might usually be more approriate to restitute the style in which is written a piece of media.

So me using the jpn version isn't because I want to sheet on the localization or "to twist things to make my points to an otherwise non-Japanese audience" as someone recently claimmed. I am doing this because I want to analyze the writing of Engage performed in it's original language and sharing it with other fans who might be curious about it as well, because I like doing that, I have a blast doing that, this put a big goofy smile on my face because this play on the shape using language and words makes the little literary student I am fly over the moon. I never tried to manipulate anyone. If I wanted to then I wouldn't share the literal japanese text both in screenshot and as a typed text that which you can copy paste unto Google translation or Deepl translation to check whether or not I am saying truth or not. The comment I am making on the jpn text is my interpretation of those language phenomenon that I am trying to make based on a long and detailed analysis on the text to understand what the game is trying to do writing wise. This is what I learn to do in my studies of literary student I am not claimming to be an expert in japanese, it's a language I am still trying to learn and practice. If I am saying anything incorrect, then I am sure that some of the fans who understand japanese as well since there is a lot of fans who do would correct me and I wouldn't mind at all. In fact, I often communicate with the japanese side of the fanbase for Engage and so far, none of them took any problem with what I said and I would even ask them about the things I do not understand. I am pretty sure I made that clear in some of my post.

Anyway, if any of the member of that fandom who know japanese think I am saying something incorrect or advancing an incorrect intepretation, feel free to correct me at any moment.

#fire emblem #fire emblem engage #fe engage #japanese #meta analysis #translation #localization

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