#Ask - 本当にありがとう！So let me explain...

[thetinkereroftoys]

[kozuwestley]

Westley Allan Dodd　“I finally said, "The winner has to pull his pants down." 僕はついに（最終的に）、"優勝者はパンツを下ろさなければならない "と言ったんだ。”

Westley Allan Dodd (July 3, 1961 - January 5, 1993) ウェストリー・アラン・ドッド (1961年7月3日 - 1993年1月5日)

61) WHEN: May, 1986 WHERE: Tri-Cities (Kennewick, Richland, W. Richland, Benton City) AGE: 24 VICTIMS: Five boys, 7-11 years old. I had been doing pretty good until I moved to Lewiston — molesting constantly — probably never went more than three or four months without a victim — (in the winter when I couldn't find victims) but N— and then M— had seen me through two winters and I managed to find victims in the winter while in the Navy. I always found a child or already had one available to me when I really "needed" to molest. Then when I got to Lewiston, I was lucky to find H— and V— who had kept me happy for another year. I last molested H— in March of 1984. The next child I was able to molest came along in August of 1985. That was a seventeen-month dry spell in which 1 tried unsuccessfully to find a new victim, hopefully one I could molest repeatedly, but a "one-time stand" would also do. Then I moved to Kennewick. By the spring of 1986, I'd had no new victims since O— nine months earlier. That was too long — I was NOT going to go another 17 month dry spell! I had had it TOO easy, TOO long. The last few years I had been able to repeatedly molest the same kids, and even in the Navy I didn't have to look very hard to find PLENTY of "one-time victims." But now I was going to have to go back to the old time-consuming searches for victims that I had used between my M— and my Navy days. I lived in Kennewick — so, I would commit no crimes there. I began driving to the river park in Richland and the school at Benton City where I'd been successful years earlier. I also kept an eye on the river at W. Richland where I had gone rafting with the one boy and another three had caught me skinny dipping. I watched places where 1 had found kids before. Then things started happening fast.

61) 時期：1986年5月 場所:トライシティー（ケネウィック、リッチランド、W.リッチランド、ベントンシティ）年齢：24歳  被害者: 7歳から11歳の5人の少年。

僕はルイストンに移るまでかなりうまくいっていた。絶えず痴漢行為をしていて、おそらく3、4カ月以上被害者がいないことはなかった(被害者を見つけられなかった冬に)。しかしN-とM-が僕を2回冬を乗り切らせてくれて、僕は海軍にいる間は冬でも何とか被害者を見つけることができたんだ。僕はいつも、本当に痴漢する「必要がある」ときには、子供を見つけるか、すでに子供を用意していたんだ。そしてルイストンに着いたとき、僕は幸運にもH-とV-を見つけ、もう一年僕を満足させてくれた。僕が最後にHに痴漢したのは1984年の3月だった。僕が次に痴漢できたのは、1985年の8月だった。僕は17ヶ月間、新しい被害者を見つけようとしたが失敗した。できれば何度も痴漢できるような、しかし "一度きりの我慢 "でもできるような被害者を。 （新しい犠牲者を見つけようとしてもうまくいかなかった。できれば何度も痴漢ができるような、しかし「一度だけの関係」でもいいような、そんな犠牲者を。） それから僕はケネウィックに引っ越した。1986年の春になると、僕は9ヶ月前にO-にして以来、新しい犠牲者が出なかった。僕はもう17ヵ月も空白の時間を過ごすつもりはなかったんだ。僕はあまりにも長い間、楽をしてきた。ここ数年、僕は同じ子供たちに繰り返し性的虐待を加えることができたし、海軍でも「一度だけの被害者」を探すのにそれほど苦労はしなかったんだ。でもこれからは、M-から海軍時代にかけて使っていた、時間のかかる昔の被害者探しに戻らなけ���ばならない。僕はケネウィックに住んでいるから、そこで犯罪を犯すことはないだろう。僕はリッチランドのリバーパークや、何年か前に成功したベントンシティの学校へ車で行くようになった。僕と一緒にラフティングをした男の子や、スキニー・ディッピングをしているところを他の3人に見られた西リッチランドの川にも目を配った。僕は、以前1、子供を見つけたことのある場所を観察した。すると、事態は急展開を見せ始めた。

61 A) In May of 1986,1 was in the park along the river in Richland. In the past I had found three groups of three boys. Now, once again, I found a group of three boys, nine to ten year olds. With only one victim in the last two years, two months (0— nine months earlier), I was in DESPERATE NEED of "young cock." I HAD to have it! When I came across these three boys and saw they were all good looking boys, I decided NOT to use my old approach of, "I want one of you to pull your pants down." I also knew I wasn't going to just suck one penis for a couple seconds then let them all go. NO — I WAS going to suck every one of those dicks for at least five minutes each. I quickly devised a plan, then approached the boys, said 'Hi' and asked if they'd like to play a game. They did. I explained it would be a game to see who was the most daring and trusting (if you will remember, I used a "trust game" on V— the first time I molested him. I hoped to have same luck now). 61 A) 1986年5月、1、リッチランドの川沿いの公園で。僕は過去に3人の少年からなるグループを3つ見つけたことがある。今度もまた、僕は9歳から10歳の少年3人のグループを見つけた。この2年間で被害者は1人、2ヶ月（0-9ヶ月前）、僕は "若いcock "を切望していた。僕はそれを手に入れなければならなかった！（どうしても欲しかったんだ！）この3人の少年を見たとき、みんな容姿端麗だったので、僕は「誰か一人のパンツを下ろしてくれ」という今までのやり方は使わないと決めたんだ。また、1本のペニスを数秒間しゃぶった後、全部を解放するつもりはないとも思っていた。僕は一人一人のディックに最低でも5分はしゃぶりつくつもりだった。僕はすぐに計画を立て、男の子たちに近づき、'Hi'と言い、ゲームをしないかと訊ねた。彼らはやった。僕は、誰が一番大胆で信頼できるかを競うゲームだと説明した（憶えているかな、僕が初めてVに痴漢行為をしたとき、「信頼ゲーム」を使ったんだ。僕は二人を背中合わせに並べた。）

I lined them up with their backs to me saying that whoever let me go the farthest was the winner. I didn't tell them what the 'farthest' meant. From behind, I pulled up the first boy's shirt and he started to pull away. I said "Just trust me. I won't do anything you won't like." He let me pull up his shirt. I pulled it up just enough so it was out of the way of the waist of his pants. He wiggled a little as I reached around from behind and put my right hand on his stomach. I asked if he trusted me — he said yes. I slipped the fingertips of my hand under the waist of his pants and he pulled away. I said, "Just trust me and nothing will happen. You tell me when to stop and I'll stop. Whoever lets me go the farthest without stopping me is the winner." He turned his back and backed up to me again. I asked if I could use my left hand to pull his pants and underwear open just enough to get my other hand in —- he said I could. I reached into his pants with my left thumb and pulled out on the waistband of his underwear and pants, then started pushing my right hand down, settling my hand on his stomach then sliding it down his body as I stood behind, hoping peek in and see his genitals. He stopped me by the time my little finger reached the top of the band on his underwear — just the tips of my longer fingers were under but not past that waistband. The other two boys now knew what to expect and they held their shirts up out of my way. They both stopped me at about the same place the first boy did. I told them it was a "tie" — they were all willing to try again — each wanted to proved he was the bravest and most daring and TRUSTING (Great — maybe they'd each let me do everything 1 wanted to prove they were brave and daring!). The second time around I managed to look over their shoulders and get a quick glimpse of genitals on two of them, but still none let me get hand closer than an inch or so to his genitals. I told them it was another tie, and, "We'll have to try it again — come on, guys, who's the bravest?!" "We'll HAVE to try again," may have been a poor choice of words. One of them was getting suspicious and wanted to know what the winner got. He wouldn't accept "the winner proves he's the most daring and trusting," as an answer. I finally said, "The winner has to pull his pants down." 

They all took off running. (I had hoped they would each let me cup their genitals inside their pants, then I'd unsnap the pants of each boy, then unzip each boy's pants, pull back the flaps of each boy's pants hoping the SCORE would remain TIED and each one would let me do the next step. The pants would come down on each boy, the underwear and finally my open mouth would go slowly toward each boy's penis and if they were still playing the game, it would now be who would let me suck him the longest while all three stood there with pants down and who would pull his pants up first. But, THEY RAN!) I did not GET any young cock that day! I didn't get to suck, I didn't get to touch, all I got was a brief glimpse of two boys' genitals as I peeked over their shoulders and into their pants. It had been a good plan when you consider I only thought of it in the few seconds between finding the boy's and greeting them! If it had been only one boy and he had agreed to play my game to see how daring, brave and trusting he was, if he stopped me before my hand reached his genitals, I'd stop, ask "Do you want me to pull my hand out now?," and, regardless of his answer, since he is alone in an isolated area, I'd shove my hand down and cup his genitals before he knew what happened. Then, depending on whether or not he yelled or fought, keeping my right hand on his genitals, I would use my left hand to pull his pants down, then I'd turn him around and suck his penis. Whether or not he was submissive to having his dick sucked would determine if I tried to make him masturbate or suck me, or if I'd crotch-fuck him (if I was SURE no one else was in the area!). So, the day after those three ran from me, I went out looking for a boy by himself — I'd trick him with the game to get my arms around him from behind, then whether he wanted to "play" the rest of the "game" or not, if he didn't yell I would force him just as I did the little boy in incident #47 a few years earlier. (Even though 1 was considering force, I never once considered PHYSICALLY hurting a child).

僕は彼らを背中合わせに並べ、「僕を一番遠くまで行かせた人が勝ちだ」���言った。僕は「一番遠く」が何を意味するのかは教えなかった。僕は後ろから一人目の男の子のシャツを引っ張り上げると、彼は離れようとした。僕は「僕を信じろ。僕を信頼して、君が嫌がるようなことはしないよ」と言った。彼は僕にシャツを上げさせてくれた。僕は彼のパンツのウエストにかからない程度にシャツを上げた。僕が後ろから手を回し、右手を彼のお腹に当てると、彼は少し体をくねらせた。僕は彼が僕を信頼しているかどうか訊ねると、彼はイエスと答えた。僕は手の指先を彼のパンツのウエストの下に滑り込ませると、彼は手を離した。僕は言った。 「ただ僕を信じてくれれば、何も起こらない。僕を止めずに一番遠くまで行かせた人が勝者だよ。 」 彼は背中を向けて、再び僕に近寄ってきた。僕は左手で彼のパンツと下着を、もう片方の手が入るくらいに開いていいかと訊ねたところ、彼は「いいよ」と答えた。僕は左手の親指で彼のズボンに手を入れ、下着とパンツのウエストバンドを引っ張り出し、右手を押し下げ始めた、僕の手は彼のお腹に落ち着き、彼の体を滑らせた。 僕の小指が彼の下着のバンドの上部に到達した時点で、彼は僕を止めた - 僕の長い指の先端は、ちょうどそのウエストバンドの下にあったが、それを越えてはいなかった。他の二人の少年も何が起こるかわかっていて、僕の邪魔にならないようにシャツをたくし上げた。 二人とも、最初の男の子がしたのとほぼ同じ場所で僕を止めた。僕は「引き分け」だと告げた。彼らは皆、もう一度挑戦することを望んでいた。それぞれが、自分が最も勇敢で大胆で信頼していることを証明したかったんだ（素晴らしい。たぶん彼らは、自分が勇敢で大胆であることを証明するために、1、望むことを全て僕にやらせてくれるかもしれない！）。2回目に僕は彼らの肩越しになんとか2人の性器をちらっと見ることができたが、それでも誰も僕が彼の性器に1インチほども手を近づけることを許さなかった。 「また引き分けだよ」、「もう一回やり直さなければならない（やらなくちゃならない）、さあみんな、誰が一番勇敢なのか?!」

"もう一度やり直さなければならない "というのは、言葉の選択がまずかったかもしれない。一人が不審に思い、勝者が何を手に入れられるのか知りたがった。彼は、「優勝者は、自分が最も大胆で信頼できることを証明する」という答えを受け入れようとはしなかった。 （彼は「勝者が最も大胆で信頼できることを証明する」という答えを受け入れることはなかった。） 僕はついに（最終的に）、"優勝者はパンツを下ろさなければならない "と言ったんだ。

彼らは皆、走り出した。(僕は、彼らが僕にパンツの中の性器を触らせてくれることを期待していた。そして、それぞれの男の子のパンツのスナップを外し、それぞれの男の子のパンツのフラップを戻して、スコアが同点のまま、それぞれが僕に次のステップをやらせてくれることを期待していた。 もし彼らがまだゲームをしていたら、3人がパンツを下ろして立っている間、誰が一番長く僕にしゃぶらせてくれるか、誰が先に彼のパンツを上げるかを競うことになるんだ。しかし、彼らは走った！)   僕はその日、若いcockを手に入れることはできなかった。僕が得たのは、二人の男の子の肩越しにパンツを覗き込みながら、二人の男の子の性器をちょっと見ただけだった。僕がそれを思いついたのは、男の子を見つけてから挨拶するまでの数秒間だけだったと考えると、それは良い作戦だったんだ！ もしそれが一人の男の子だけで、彼がどれだけ大胆で勇敢で信頼できるかを見るために僕のゲームに同意したなら、もし僕の手が彼の性器に届く前に彼が止めたら、僕は止まって「今手を引いて欲しい？」と訊ね、彼の答えに関わらず、彼は孤立した場所に一人でいるので、僕は手を押し下げて彼が何が起こったか分からないうちに彼の性器を杯（優勝杯）にするだろう（手に入れるだろう）。

そして、彼が叫んだり抵抗したりするかどうかによって、右手で彼の性器に触れたまま、左手で彼のズボンを引き下ろし、それから彼の向きを変えてペニスをしゃぶるんだ。彼がディックを吸われることに従順かどうかで、僕が彼にマスターベイションやsuck（しゃぶる）をさせようとするか、股間ファックをするか（その場に誰もいないことを確認した場合！）が決まるんだ。 だから、その3人が僕から逃げた翌日、僕は一人で男の子を探しに出かけた。僕は後ろから腕を回すゲームで彼をだまし、彼が残りの「ゲーム」をしたいかどうかに関わらず、彼が叫ばないなら、数年前の事件#47の少年にしたように、彼を強引に誘うことにしたんだ。(1、力ずくだったとしても、僕は一度も子供を物理的に傷つけようと考えたことはない）。

[rolotouto]

Banjou no Geass Gekijou

Before I post a list with all the games Rolo’s been featured in, here's more about my favorite one: the Nintendo DS board game, Banjou no Geass Gekijou. These are some of the lines you get when you land on Rolo’s squares.

へぇ、すごいですね、ライさんって。　何人もの人の声を、同時に聞き分けられるなんて…僕が必ず分かるのは兄さんの声くらいですよ… Wow, you are amazing, Rai-san. To be able to recognize the voices of multiple people simultaneously... The only one that I recognize without fail is Brother's...

すごいですね、ライさん。人を簡単に笑わせるなんて…僕にはできそうにありません。 You are amazing, Rai-san. Being able to make people laugh so easily... I don’t think I could do it.

ライさんはどうして、そんなに簡単に人を笑わせることができるんですか？ あ、いえ…　別にうらやましいとかそういうことではないですけど…　ただ、すごいなって… Rai-san, why are you able to make people laugh so easily? Ah, no... It's not that I am jealous or anything like that... It's just, that it’s so amazing...

I think lines like this show how strong Rolo’s true self is despite being trained as an “emotionless” assassin. The sight of someone making another person happy makes him feel admiration. He had the potential to be a really good kid...

やった！僕の勝ちですね！あ、ごめんなさい…　僕ばかりが楽しんでしまったみたいで…　あ、あの…　また遊んでください！ Yes! I won! Ah, I'm sorry... It seems I ended up being the only one who had fun... U-um... Let's play again next time, please!

And he isn’t just in touch with his own feelings, but also those of the individual he’s interacting with. I wish these pretty scenes with Rai could lead to a Good End where, having gained another person he can trust, Rolo actually started believing in his right to be loved simply by being Rolo, instead of assuming his value is tied to his usefulness as an assassin. But yeah, the Good Ends have him killing Rai, so I guess deep-rooted beliefs take long to change...

えっ！事故に遭ったんですか！…兄さんはッ！にィ~さ~んッ！！ Eh! You had an accident?! ...Brother is...! Bro~ther!!

There’s a driving minigame where you play as Rivalz and Lelouch, and this is Rolo’s reaction if you crash Rivalz’s motorbike. Before playing the minigame, Rolo had asked you to please accompany Rivalz-san and Niisan because he(Rolo) doesn’t trust Rivalz-san’s driving skills. I find it amusing that Rolo actually went through the process of learning how to drive a bike and that he probably understands about vehicles (and mechas), while Lelouch likely has no interest or knowledge whatsoever. His fakememory!self was probably initially totally confused by his little sibling’s ability to drive, and it’s things like these that make the time he spent with Rolo be memories with Rolo rather than “with a Nunnally replacement”. Anyway, if you play the driving minigame when Rolo has come to like Rai as well, he will be calmer and say something like “I’m glad Niisan and you are safe”. Rivalz doesn’t even exist for Rolo.

あれ、失敗ですか。もしかしてオモチャのハンマーじゃ本気になれないですか？僕のナイフ…　貸しましょうか？フフフ… Oh, you lost? Maybe it's that you couldn't take it seriously using a toy hammer? Should I lend you... my knife? Fufufu...

This is what you get when you lose on the whac-a-character minigame. Sadly for Rolo, one of the rules in that minigame is not to hit Nunnally.

あ、ライさん。ほら、見てください！兄さんからもらったんです、この回転パズル！ねえ、ライさん。一緒に組み立ててみませんか？ Ah, Rai-san. Look, look at this! I received it from Brother, this rotation puzzle! Hey, Rai-san, why don't we assemble it together?

思ったより簡単にできましたね、ライさん。でも、せっかく兄さんがくれたものなんですから今度はひとりでやってみます。じゃあ… You were able to do it more easily than I thought, Rai-san. But since it's something that Brother gave me, next time I'll try to do it on my own. Well then...

Rolo allowing others to play with something given to him by Niisan? And poor Victor from the OSI had to get killed after touching his locket...

The next part needs some context first. This is from when you overhear his conversation with Villetta and Lelouch at the basement. Once he notices you there, he'll normally just kill you instantly, but if you visit them after he's already grown to like you, he hesitates and, seeing how neither Villetta nor Lelouch noticed you, offers to spare your life with the condition that you don't tell anyone what you heard. You can answer "yes" or "no". As one can guess, saying that you won't keep the secret leads to a game over.

First, "yes": じゃあ、これは…　僕らだけの秘密です…　そう…　兄さんにも内緒の…

Then, this is... a secret that is only ours... That's right... a secret even to Brother...

And "no":

なるほど…　僕がバカでした…　やっぱり信じられるのは…　兄さんだけ…　他のヤツなんて… …ライさん。　あなたならわかってくれると思ったのに…　残念です… I see... I was stupid... Indeed, the one that can be trusted... is only Brother... Of course there would be no one else... ...Rai-san. I thought that you would understand, and yet... It's a shame...

It might be because it’s a game and he’s merely letting the player know what’s going to happen, but still, I like that Rolo doesn’t kill Rai right away and instead expresses his emotions to him/her first. Like Rolo barely talks to people he doesn’t feel a connection with, but once he does feel it, the love he has for that person is really important to him. Enough that he’d die mainly to honor those feelings that made him feel human. Lastly, there’s a conversation between Rolo and Lelouch that you get right before Rolo’s route is completed. (Lulu)やあ、ライ。 Hi there, Rai. (Rolo)あ、ライさん。 Ah, Rai-san. ほらな、ロロ。やっぱりライはここに来ただろ？ See, Rolo, Rai did come here after all, didn’t (s)he? う、うん… Y-yeah... 今、ロロと賭けをしてたんだ。ライが15分以内にここに来るかどうかをね。 結果は、俺の勝ち。　ロロ、今日の洗濯当番は代わってもらうぞ。 I just made a bet with Rolo on whether you'd arrive here within 15 minutes. The result is I won. Rolo, today you do the laundry instead. う、うん…　あ、で、でも！夕食当番は兄さんだからね！ Y-yes... Ah, b-but! Don’t forget that Brother is in charge of dinner! む、そうだったか…　じゃあ、こうしよう。俺が今からライと何かのミニゲームで対戦する。俺が勝ったら、ロロ。オマエが夕食当番だ。 Hm, was it so?... Well then, let's do this. I'm going to compete with Rai in some minigame now. If I win, Rolo, you take care of dinner. え、また賭け事？ Eh, betting again? そうさ、わかりやすいだろ？ライ、何て対戦する？オセロか？パズルか？何でもいいぞ。 That's right, isn't it simple? Rai, what will we compete in? Othello? Puzzle? Anything will do. 兄さん、水泳はどう？ Brother, what about swimming? なに！？なぜ体力勝負を…！ What!? Why a trial of strength...! 何でもいいって言ったじゃない？ Didn't you say that anything would do? クッ！いいだろう！速く泳ぐ理論はわかっている！負けるわけがない！ライ！水泳で勝負だ！ロロ！オマエは夕食の献立でも考えておくんだな！ Tch! Fine! I know the theory for swimming fast! There's no way I'll lose! Rai! It's a swimming match! Rolo! Start thinking about what to cook for dinner! It’s adorable how Rolo is so comfortable with Lelouch that he isn’t afraid to show him that he wants him to lose. Lelouch is hilariously slow at the swimming minigame despite “knowing the theory” (lol), so usually you’ll win without trying: やった！これで兄さんの手料理が食べられるよ! ありがとう、ライさん！ Yes! Now I can eat Brother's home cooking! Thank you, Rai-san!

チッ…　しかたないな…　晩御飯はビーフストロガノフだ！いいな！ Tch... There's no helping it... Dinner will be beef stroganoff, okay?!

うん！ Yes!

I’m laughing at how in-character it is for Lelouch to loose his cool when he doesn’t win. And notice how Rolo didn’t actually mind cooking dinner himself, he just wanted Lelouch to do it so he could eat his home cooking ♥ You can also just do nothing at all during the minigame so Lelouch can beat you, in which case the conversation goes like: 水泳で兄さんに負けるなんて…ライさん、遅い… To lose against Brother at swimming... Rai-san, you're slow... ロロ、夕食は何か凝ったものが食べたいな…そうだな…流しそうめんなんてどうだ？ Rolo, for dinner I want to eat something elaborate... Let me see... What about flowing noodles? 兄さん…たしかに凝ってるけど…それじゃ昼食みたいだよ…大丈夫、もっと栄養のあるものを作ってあげるから。 Brother... That's certainly elaborate but... then it would be like lunch... It's alright, I'll make you something more nutritious.

頼むぞ、ロロ。 I leave it in your hands, Rolo.

A Japanese person will probably find this funnier and be able to explain it better, but I think the joke is that flowing noodles are really plain in terms of what the food itself is, and that what is elaborate is the process to prepare them (you have to make noodles slide down a structure of bamboo pipes). So Lelouch seems to be deliberately choosing something Rolo can’t possibly prepare just to feel a bit evil? On the other hand, it’s really cute that he will eat Rolo’s cooking. He isn’t disgusted by it or anything, as much as he’d want to convince himself that he hates Rolo… And that’s it. Afterwards you get the endings, in which he kills you. Yeah, he spared your life at the basement, but now he stabs you out of respect, because he wants your ghost to protect Niisan. And he smiles and laughs when saying so too!? Well, to be precise, that’s the ending if you are playing as male!Rai. As female!Rai he seems more pained and doesn’t want you to leave, and it’s not so clear whether he kills you or not. Maybe he kidnaps you, since you simply disappear after Rolo took you to the airport. Creepy stuff... Someone uploaded a video of Rolo’s route, where you can see everything we’ve been talking about. ---- By the way, the official blog for this game was run by staff members who seemed to like Rolo a lot. The blog isn’t available anymore, but you can find the original texts in Japanese through Wayback Machine: part 1, part 2, part 3.

For example:

“I’m now playing through the previous game LOST COLORS and I was chased and killed by Rolo!”

“By the way, I wear Rolo on my employee badge.

It’s cute how Rolo’s charm is shaped like a heart!”

“So, since the anime’s last episode aired, there’s a new DS ‘Banjou no Geass Gekijou’ advertisement. We tried changing Lelouch and Rolo’s lines! Rolo 'Niisan... is cute' You are the one who’s cute-!”

“Good... mor   ning. It’s No... zawa... First, um, yeah, I haven’t posted updates. U.... Usui san is the only one who... was... writing... If you’re... wondering... why, on 17th August’s broadcast... Rolo  Rolo d... died”

“You can see Rolo in the advertisement... (tear)”

“Lelouch’s emperor outfit... I wanted Rolo to see it”  ----- It’s nice to know the staff was allowed to openly fangirl about their favorite characters. Although we already knew that from Sakou-san...

[omoi-no-hoka]

Moderately Interesting Japanese Ep. 8 Hokkaido Dialect

The typical winter scenery of Hokkaido.

One of my favorite aspects of language learning is studying dialects. I am fascinated by how language branches and adapts to new environments like some form of linguistic natural selection. Japanese is rife with interesting dialects, some of which are so different from the standard that they can sound like a totally different language to the untrained ear. I thought I’d make a series of posts highlighting different dialects in Japanese. Since this sort of post will take a bit more research on my end and I plan to find native speakers of the dialect to confirm with, they won’t be very regular, but I hope that you enjoy them!

What are some of the main Japanese dialects?

Firstly, let me tell you how to say “dialect” in Japanese, because I know I’m gonna use it and I don’t want to cause any confusion. 

方言 (hougen) Dialect

___弁 (__-ben) __ Dialect, so “Osaka Dialect” is “Osaka-ben.” 

I daresay that just about 100% of all Japanese learners are familiar with Tokyo-ben, because it is Standard Japanese. The next most popular dialect is Kansai-ben, which is spoken in the Kansai region (Osaka, Hiroshima, etc.). The Kansai Dialect can be broken down into several smaller, regional dialects. Next would probably be Okinawa-ben. 

(Caution! Some people, particularly Okinawans, consider Okinawan Japanese to be a language independent from Japanese, and they can be offended if you refer to it as a dialect. Japan’s official stance is that Okinawan is a dialect, though, so I am calling it a dialect in my posts.) 

Now without further ado, let’s actually start learning about one of these dialects!

Hokkaido-ben, namara ii!

Hokkaido is the island in green. It’s the biggest prefecture in Japan by far.

I am a foreigner and Japanese is not my native language, but I have been living on the island of Hokkaido for 5 years now and am very comfortable with the Hokkaido dialect, so I chose to introduce it to you first. Also, it’s not one that gets talked about a lot, so I figured maybe there weren’t many posts about it. 

Hokkaido is the northernmost island of Japan, and it wasn’t settled and officially incorporated as part of Japan until the late 1800′s. There is a group of indigenous people here called the Ainu who speak a language completely different from Japanese, but their language has not bled into Hokkaido-ben. (Many place names in Hokkaido are from Ainu, though).

Because Hokkaido was settled so late in history compared to the other islands of Japan, their dialect doesn’t differ drastically from Tokyo-ben. There are some minor intonation differences that, frankly, I don’t feel confident explaining. I have internalized the intonations through exposure, but I’ve never been taught it and don’t really know what is correct. So I’m not going to talk about tonal differences, and instead focus on the different words and a wee bit of grammar.

投げる　Nageru

Standard Japanese: 捨てる suteru

English: to dispose of (lit. “to throw/toss”)

To an English speaker, “throw away” feels just as natural as “dispose of.” But to people outside of Hokkaido, it sounds very unusual and the image it conjures is comedic, like someone is hurling trash into the garbage can like it’s the opening pitch at the World Series. 

Example: そこの古い新聞を投げていいよ。 Romaji: Soko no furui shinbun wo nagete ii yo.

Standard: そこの古い新聞を捨てていいよ。 Romaji: Soko no furui shinbun wo sutete ii yo.

English: You can throw away those old newspapers there. 

おっかない　Okkanai

Standard: 危ない abunai

English: dangerous, scary, a “close call”

My hostmom uses this with me, like, all the time. According to her, I’m always doing okkanai things, like walking alone at night or *gasp* going outside with wet hair. I love her so much haha. 

Example: うちの子が熊のぬいぐるみだと思って遊んでいたのは本当の子グマだった。おっかなかったわ！ Romaji: Uchi no ko ga kuma no nuigurumi da to omotte asonde ita noha hontou no koguma datta. Okkanakatta wa!

Standard: うちの子が熊のぬいぐるみだと思って遊んでいたのは本当の子グマだった。危なかったわ！ Romaji: Uchi no ko ga kuma no nuigurumi da to omotte asonde ita noha hontou no koguma datta. Abunakatta wa!

English: Our kid thought he was playing with a teddy bear, but it was actually a live bear cub. What a close call!

（手袋を）履く　(Tebukuro wo) haku

Standard:（手袋を）はめる (tebukuro wo) hameru

English: to put on (gloves)

Winter in Hokkaido is long and cold. Gloves are one of the most essential articles of clothing here, and I have heard/used “haku” so much that “hameru” sounds incorrect to me. The “haku” sounds funny to other Japanese people because it is used for putting on socks, underwear, and pants, and they will imagine you putting socks or panties on your hands instead of gloves. 

Example: 外は寒いから、手袋を履きなさい。 Romaji: Soto ha samui kara, tebukuro wo hakinasai.

Standard: 外は寒いから、手袋をはめなさい。 Romaji: Soto ha samui kara, tebukuro wo hamenasai. 

English: It’s cold out, so put on your gloves. 

めんこい　Menkoi

Standard Japanese: 可愛い kawaii

English: cute

I included this because it’s one of the famous aspects of Hokkaido-ben, but I actually don’t hear it used that much. I tend to see it on souvenir shirts for tourists more than in actual conversations.

Example: この子猫はめっちゃめんこい！ Romaji: Kono koneko ha meccha menkoi!

Standard: この子猫はめっちゃかわいい！ Romaji: Kono koneko ha meccha kawaii!

English: This kitten is super cute!

Note: Even though it is functioning as an adjective and ends with an “i,” it is not an “i” adjective. It is a “na” adjective. 

あずましくない　Azumashikunai

Standard: 居心地���悪い、嫌 igokochi ga warui, iya

English: uncomfortable (surroundings), unpleasant

This is a word that many Hokkaido people use but struggle to explain. Azumashikunai describes any place that you find unpleasant or uncomfortable, maybe due to it being too crowded, or too empty, or because it’s very cramped, for example. 

Example: 日曜日の札幌駅が人混みであずましくない。 Romaji. Nichiyoubi no Sapporo-eki ga hitogomi de azumashikunai.

Standard: 日曜日の札幌駅が人混みで嫌だ。 Romaji: Nichiyoubi no Sapporo-eki ga hitogomi de iya da.

English: Sapporo Station is always crowded on Sundays and I don’t like it.

いずい　Izui

Standard: none

English: different (in a bad way), off-kilter, something is “off”

Hokkaido people really struggle to explain izui because Standard Japanese doesn’t have an equivalent for it, but I think it can be likened to “off” in English. You got something in your eye but can’t find it and your eye feels funny? Your eye is izui. You have a hair in your shirt and can’t find it? That feels izui. Sometimes it can be a mysterious ache not painful enough to warrant a visit to the doctor, or sometimes it can just be a sense that something is “off.” 

Example: 目にゴミが入って、いずい。 Romaji: Me ni gomi ga haitte, izui. 

Standard:目にゴミが入って、痛い。 Romaji: Me ni gomi ga haitte, itai.

English: Something got in my eye and now it feels off. 

汽車　Kisha

Standard: 電車 densha 

English: (train, lit. “steam engine”)

The first time I came to Japan, I could just barely hold down an everyday conversation in Japanese. My hostparents (hostdad especially) both spoke very strong Hokkaido-ben, and during my first meal with them my hostdad asked if I had traveled from the airport to their city by “steam engine,” and I was just baffled. Wait, did he just say locomotive? What year is it? Are steam engines still a thing in Japan?! Then my kind hostmother explained that he meant regular, modern trains. 

Example: すみません、函館ゆきの汽車はいつ出発しますか？ Romaji: Sumimasen, Hakodate-yuki no kisha ha itsu shuppatsu shimasu ka?

Standard: すみません、函館ゆきの電車はいつ出発しますか？ Romaji: Sumimsaen, Hakodate-yuki no densha ha itsu shuppatsu shimasuka?

English: Excuse me, when does the train bound for Hakodate leave the station?

しゃっこい　Shakkoi

Standard: 冷たい Tsumetai

English: Cold

Being the northernmost prefecture and next door to Russia, it’s only natural that Hokkaido-ben have its own word for “cold.” 

Example: このかき氷ってめっちゃしゃっこい！ Romaji; Kono kakigoori tte meccha shakkoi!

Standard: このかき氷ってめっちゃ冷たい！ Romaji: Kono kakigoori tte meccha tsumetai!

English: This shaved ice is super cold!

とうきび　Toukibi

Standard: とうもろこし Toumorokoshi

English: corn

Hokkaido is famous for their sweet corn, and “toukibi” is a word you will hear a lot here as a result. A popular summer snack is corn on the cob with soy sauce and butter, and it’s made just like in the gif above! Japanese people tend to eat it using a toothpick, picking off kernel by kernel. So when I just rocked up, grabbed an ear and started going to town on it, they thought I was a barbarian hahaha.

Example: やっぱり、とうきびに醤油だね！ Romaji: Yappari, toukibi ni shouyu da ne!

Standard: やっぱり、とうもろこしに醤油だね！ Romaji: Yappri, toumorokoshi ni shouyu da ne!

English: Soy sauce really does go good with corn!

なまら　Namara

Standard: とても totemo、結構 kekkou

English: very, super, rather

This word is like “menkoi,” in that it is famous throughout Japan for being Hokkaido-ben, but I rarely hear it in actual conversations. I hear people use it when they are surprised by something. “Namara oishii” has a nuance of “It’s (actually) very tasty.”

Example: 曇ってるけど、今日の天気はなまらいい。 Romaji: Kumotteru kedo, kyou no tenki ha namara ii.

Standard: 曇ってるけど、今日の天気はけっこういい。 Romaji: Kumotteru kedo, kyou no tenki ha kekkou ii.

English: It’s cloudy today, but it’s still pretty good weather.

なんぼ？　Nanbo?

Standard: いくら？ Ikura?

English: How much?

My friend asked me to go get a couple drinks from the convenience store. I came back with a bottle for her and for me and she asked, “Nanbo datta?” I thought that bo was maybe a counter for things, and desperately tried to figure out what we were supposed to be counting. Then she explained that, for whatever reason, “nanbo” means “how much (does something cost)?”

Example: そのお弁当はめっちゃ美味しそう！なんぼだった？ Romaji: Sono obentou ha meccha oishisou! Nanbo datta?

Standard: そのお弁当はめっちゃ美味しそう！いくらだった？ Romaji: Sono obentou ha meccha oishisou! Ikura datta?

English: That bento looks super good! How much was it?

ボケる　Bokeru (for produce)

Standard: 腐る kusaru

English: go bad (produce)

In standard Japanese, “bokeru” means “to go senile” or “to develop dementia/Alzheimer's.” While I wouldn’t say it’s a slur bad enough that it would be bleeped out, it certainly isn’t a kind way to refer to aging. 

So when my host mom told me, “I would give you some apples, but they’re all senile” I had no clue what she was going on about. But then she showed them to me, and they were all wrinkled like this:

Not exactly the most appetizing, but also not entirely rotten. I’m really not sure why Hokkaido-ben likens produce to senility, but if I had to guess, I’d say it’s because pretty much every single person with Alzheimer’s/dementia is wrinkled.

Example: このリンゴはボケてるから、パイでも作ろうか… Romaji: Kono ringo ha boketeru kara, pai demo tsukurou ka...

Standard: このリンゴは腐りかけてるから、パイでも作ろうか… Romaji: Kono ringo ha kusarikaketeru kara, pai demo tsukurou ka...

English: These apples are about to go bad, so I guess I’ll make a pie...

～べ　~be

Standard ～だろう、～でしょう darou, deshou

English: ..., right?

This is probably the most famous aspect of Hokkaido-ben. Japanese people get a real kick out of it when this white girl uses it haha. “~be” is a sentence-ending particle that functions about the same as “darou” or “deshou” in that it:

asserts the speaker’s confidence in the likelihood of something

asks for the listener’s confirmation

This sentence-final particle has its roots in the particle ～べし (~beshi) found in Classical Japanese, which had a similar purpose. Other forms of ~beshi survive in Modern Standard Japanese with the words べき (beki) and すべく (subeku). 

Here are two examples, one for each function ~be fulfills. 

Example 1: 君の���行機はあと5分に出発するって？間に合わないべ！ Romaji: Kimi no hikouki ha ato 5 fun ni shuppatsu suru tte? Maniawanai be!

Standard: 君の飛行機はあと5分に出発するって？間に合わないでしょう！  Romaji: Kimi no hikouki ha ato 5 fun ni shuppatsu suru tte? Maniawanai deshou!

English: You said your plane takes off in 5 minutes? There’s no way you’ll make it! 

Example 2: このサラダに白菜も入ってたべ？ Romaji: Kono sarada ni hakusai mo haitteta be?

Standard: このサラダに白菜も入ってたでしょう？ Romaji: Kono sarada ni hakusai mo haitteta deshou?

Standard: There was napa cabbage in this salad too, wasn’t there?

～れ　~re

Standard: ～なさい ~nasai

English: imperative command

I really don’t like giving grammar explanations because it’s been a long time since I’ve formally studied Japanese grammar and I’m scared of explaining something poorly or incorrectly. But an upper-elementary level Japanese learner should know that there are many different levels of imperatives in Japanese that vary in politeness. In order of rude to polite, we have:

Imperatives that end in an “e” sound or ろ, as in:

死ね！Shine! Die!

待て！Mate! Wait!

食べろ！Tabero! Eat!

Imperatives that end in tte, te, or de and are not followed by kudasai

死んで Shinde. Die.

待って Matte. Wait.

食べて Tabete. Tabete.

Imperatives that end in nasai. (These are most often used by parents/teachers to their children.)

死になさい Shininasai. Die.

待ちなさい Machinasai. Wait.

食べなさい Tabenasai. Eat.

Imperatives that end in tte, te, or de and have kudasai after them. 

And then there’s super formal Japanese, but that’s a whole other kettle of fish.

Anyways. Back to the Hokkaido-ben. I went to a picnic here with a Japanese friend’s family, and her aunt gave me a plate of food and said, “Tabere!” I knew that this had to be an imperative, but I had never studied it before. It felt like it was the same as the rudest imperative, and I spent the whole rest of the picnic wondering what on earth I had done to have her family speak to me like that. Conventionally, they should have been using the -tte form or -nasai form with me.

After the party, I asked her, “Dude, what’s the ~re stuff for? Do they not like me?” I was close to tears I was so hurt and confused.

And that when she laughed and explained that the ~re is a facet of Hokkaido-ben, and it is the same in politeness and nuance as the ~nasai imperative used by parents and teachers to their children.

So I had spent several hours thinking that her family hated me, when really they were treating me like I was their own child! 

Example: ちゃんと野菜を食べれ！ Romaji: Chanto yasai wo tabere!

Standard: ちゃんと野菜を食べなさい！ Romaji: Chanto yasai wo tabenasai! 

English: Eat all of your vegetables properly.

The End!

This was a monster of a post. There are actually a few more words I wanted to introduce, but I had to cut it off at some point haha. I hope that you enjoyed this segment of Moderately Interesting Japanese. I plan to make more on the other dialects within Japanese, but they will take a considerable amount of time so they won’t be very often. 

Thanks for reading!

[kaialone]

Spirit Tracks Translation Comparison: The Lokomo

This will be a comparison of the original Japanese version and the US English localized version.

Specifically, this will cover the cutscene in which Anjean tells Link and Zelda about the Lokomo people, and how they should proceed.

You can also watch this cutscene for yourself in English and Japanese. If you want, you can check out the EU English version, too.

For the comparison, the usual points apply:

Bolded is the original Japanese text, for the reference.

Bolded and italicized is my translation.

Italicized is the official NOA translation.

A (number) indicates that I have a specific comment to make on that part in the translation notes.

As you read this, please keep in mind that with translations like these, it’s important not to focus on the exact literal wordings, since there is no single “correct answer” when it comes to translations.

Rather than that, consider the actual information that is being conveyed, in which way, and why.

--

Characters in this part who had their names changed between versions:

Sharin = Anjean, Valve = Gage

--

Returning to Anjean:

Anjean:

おぉ 見事 石版をとって こられたようじゃの！

Oh, good job! Looks like you got the lithograph!

Ah, so you managed to obtain the rail map!

Anjean:

お主らなら 本当に 各地の神殿の結界を はりなおせるかもしれんの！

You two might really have what it takes to fix the barrier of all the temples!  (1)

You two just might be able to restore the Spirit Tracks in every realm!

Zelda:

しかし 石版には 少ししか線路が 描かれていませんでした

But, the lithograph seems to only have a few tracks etched into it.

But, Anjean, the rail map has only a small part of the Spirit Tracks on it.

Zelda:

神殿とはどこに あるのですか？

Where exactly are the temples?

Where are the temples you were talking about?

Anjean:

結界の役目を担う神殿は ４つあるのじゃ！ そして ここから 一番近い神殿はここじゃが…[DS]

There are four temples in charge of the barrier! And the closest of them is right here, but... [DS]

In each of the four realms is a temple. Look, my dear. The closest one is here...[DS]

Anjean:

確かにこのままでは 神殿にはたどりつけんな

You definitely can't reach that temple the way things are now.

But I don't think you can make it to the temple as things are right now.

Anjean:

この石版は フォースの力で 線路を表しておるんじゃ

The lithograph shows the tracks with the power of Force.  (2)

The rail map has imparted energy to a length of the Spirit Tracks here.

Anjean:

魔物の力によって 石版に 蓄えられた フォースまで なくなってしまったようじゃ

The power of the monsters seems to have stripped the lithograph of the Force stored inside it, too.

But because of the Demon King's power, much of the energy was lost.

Zelda:

そんな… 神殿に 行くことはできないのですか？

Oh no... Does that mean we cannot go to the temples?

So...we can't go to the temples, Anjean?

Anjean:

方法はないわけではない… 石版にフォースの力を宿すには…

わしの一���のものに会い この石版にフォースの力を 増幅してもらうのじゃ

It's not like there's no way to do it... To fill up this lithograph with Force...

You have to meet with one of my people, and recharge the Force inside of it.  (3)

Not yet. But there is a way to restore energy to the rail maps.

You can ask my people to help you.

Zelda:

シャリンさまの一族の方… そのような方が おられるのですか？

Someone of your people... You mean there are people like you, Lady Sharin? 

Your people, Anjean?

Anjean:

うむ わしら ロコモ族は代々 神のお作りになった結界と

神殿を守る命を授かった 天界に近き一族なのじゃ

Indeed, we Lokomo are a people close to the heavens, given order to protect the barrier  (4)

and the temples created by God, and have done so for generations.

Indeed. We are called the Lokomos. We are servants of the spirits.

They have entrusted us with protecting the temples and the Spirit Tracks.

Anjean:

わしらは 聖なる楽器を あやつって石版にフォースの力を 宿す力を持っておる

We have the power to fill the lithographs with Force, by playing sacred instruments.

By playing our sacred instruments...

We generate energy that powers the Spirit Tracks.

Zelda:

楽器…ですか？

Instruments...?

Sacred instruments?

Anjean:

そう お主の持っておる 「大地の笛」も その１つじゃ

Yes, and the "Flute of the Land" that you possess is one of them, too.

Yes, and the Spirit Flute you hold is one of them.

Zelda:

わたしの笛が…！ これは お母さまから いただいたものだったのですが..

My flute...! It was given to me by my mother, but...

This flute was a gift from my grandmother. I didn't know it had any powers.

Zelda:

ご先祖さまから 伝わる大事な 笛だと 伺いました

I have been told that it was a special flute, handed down from my ancestor. 

I'd only heard that it was something precious handed down from my ancestors.

Anjean:

わしが おぬしの 先祖にあたる者に 渡した物じゃ！

I’m the one who gave it to that ancestor of yours!

Yes! And it was I who gave it to your ancestors!

Anjean:

何度もくれとせがまれたので この国の平和を築くという 条件であげたのじゃ

She kept bugging me about it, so I gave it to her, under the condition that she would keep this country peaceful.

But only under the condition that they protect the land for all time.

Anjean:

その時はこんな一大事に なるとは思ってなかったが…

At the time I didn't think things would end up getting this bad, though...

Of course, back then, I didn't think things would take such a perilous turn.

Anjean:

まあ 持ってたのが おぬしらで よかった…

Well, I'm glad you're the ones who have it...

I'm glad that after all these years it has found its way into your hands.

Zelda:

この笛 そんな大事なもの だったのですか..

I had no idea this flute was so important...

I had no idea this flute was so important...

Zelda:

私が小さい時に お母さまが よく吹いてくださいました

When I was little, my mother would often play it for me.

My grandmother used to play it for me when I was a little girl.

Zelda:

この音色を聞くと いやなことがあっても がんばれるような気がして…

When I listen to its sound, I feel like I can keep going, even when things are unpleasant...

If I was sad or upset, the sound of this flute would make me feel better.

Zelda:

でも お返しした方が よさそうですね

But I suppose it would be for the best if I returned it to you.

But even so, I suppose its rightful place is with you, Anjean.

Anjean:

いや それは きっと必要になる おぬしらが 持っていた方がよい！

No, you'll definitely need it, so it's better if you have it!

No, you two will have need of it. Please take it with you! For now...

Anjean:

それよりも 今はわしの一族に 会い 石版に再びフォースの 力が宿るようにするのじゃ

More importantly, right now you need to meet with my people and fill the lithographs with Force again.

You must go find the other Lokomos and restore the energy of the rail maps.

Anjean:

そうすれば 線路が再び 浮かび上がるはずじゃ

If you do that, the tracks should emerge once more.

Once you do, the Spirit Tracks will reappear.

Anjean:

まずは森に行き 森のロコモ族 バルブという男に会いなさい

First, I want you to go to the forest and meet with a man called Valve, the Lokomo of the Forest.  (5)

Go to the forest first, where you must talk to the Lokomo Gage.

Anjean:

[DS] この塔より 南西の方に バルブの住む ホコラがある

[DS] The shrine where Valve lives lies southwest of this tower.

[DS] South of the Forest Temple is a sanctuary where you can find Gage.

Anjean:

きっと おぬしらの 進むべき道を 示してくれるはずじゃ

He should be able to show you where to go.

He will be able to tell you where to go next.

Zelda:

はい わかり��した！

Alright, understood!

Got it!

Zelda:

リンク いきましょう！

We should get going, Link!

Let's go, Link!

Zelda:

あ…でも 今は機関車が ありませんし どうやって 森まで いけば…

Oh, but... we do not have a train right now. How are we supposed to reach the forest...?

Oh...but we don't have a train. How are we going to get to the forest?

Anjean:

これに 乗っておいき

Use this.

You may take this.

Anjean:

この汽車は いにしえの時代に 神が お使いになった 神の汽車じゃ…

おいそれと 普通の人間が乗れる ものじゃないんじゃが…

今はそんな事も言ってられんし それに お主らなら 神もお許しに なるじゃろうて！

This train was used by God in the ancient times. The Train of God...

Ordinary humans aren't supposed to just ride it around like that, but...

We don't have much of a choice right now. And I'm sure God will make an exception in your case!

This train is a symbol of the spirits. People don't ordinarily ride around in it.

But these are no ordinary circumstances.

I'm sure the spirits wouldn't mind lending it to you.

Zelda:

ありがとう シャリンさま！！

Thank you, Lady Sharin!!

Thank you, Anjean!

Translation Notes:

I realize it’s worded a bit awkwardly when translated as literally as I did, but by ”the barrier of all the temples”, Anjean basically means “the barrier that’s being created by all the temples”.

“Force” is a concept that occasionally comes up in Zelda games. Not to be confused with the Triforce, “Force” is an energy that dwells within all living beings and the world. In the English localizations, it’s usually adapted as Force Gems when it’s shown in crystalized form, or even just energy or life force when it’s not physically shown.

What I translated as “people” here is 一族/ichizoku in Japanese, which could also be translated as “clan” or even “family”, but I think “my people” worked best in this context.

The Lokomo are literally called ロコモ族/Rokomo-zoku in Japanese, named after “locomotive”, so one could romanize them as “Locomo”, too.

What I translated as “the Lokomo of the Forest“ could also be translated as “a Lokomo of the forest”, but he does seem to be specifically assigned to the forest, so the former made sense to me.

--

Comparisons & Thoughts:

This is only a short scene, but it features some important exposition, and some particularly curious changes in the English version.

-

I will start with what I consider the biggest change in this scene.

In the Japanese version, Zelda states that her flute was given to her by her mother, while the English version has her state that it was her grandmother.

This seems like a strange and unnecessary change, but I have a theory about why they did it.

I think whoever decided on this change might have wanted to imply that Zelda’s grandmother was actually Tetra, and thus that Zelda knew Tetra personally, and got the flute from her.

This might also explain why the English version didn’t mention that Zelda is specifically the great-great-grandchild of Tetra in an earlier scene.

As for why they would do this, I’d assume it would be because Tetra is a popular character, and they thought it would be better to have a closer connection with her?

But even if we assume that wasn’t their intention at all, and they just changed it to her grandmother for a completely different reason, this change certainly made many English-speaking fans believe that Tetra was Zelda’s grandmother.

So it definitely caused a misconception in the fandom.

But regardless of that, in the Japanese version of the story, it’s made clear that Zelda did not know Tetra personally, which is why part of her relationship with Anjean involves Zelda indirectly learning things about Tetra through her.

Now, one may prefer the idea of Zelda having known Tetra personally, and that’s understandable. But it would still be a change from how it was in the original Japanese version.

-

Related to the above, as Anjean and Zelda actually talk about Tetra here, she is simply referred to as Zelda’s ancestor.

As I mentioned previously, this is pretty much always what Tetra is referred to as throughout the story, being a recurring plot point.

In earlier scenes where she was mentioned, the English version correctly adapted this as “ancestor”, but in this cutscene here they instead go for the more generalized “ancestors”, which muddles the fact that this was specifically meant to be Tetra.

If they really did intent to change it so Tetra was Zelda’s grandmother instead, they might have done this to support that rewrite. But this would also make it inconsistent with the prior scenes.

Whatever the case may be, the English version will continue to use “ancestors” in future scenes as well, thus removing the recurring references to Tetra that are a part of the story in the Japanese version.

-

Still on that same topic, an especially notable difference in Anjean’s dialogue here is this:

She kept bugging me about it, so I gave it to her, under the condition that she would keep this country peaceful.

But only under the condition that they protect the land for all time.

In the Japanese version, where Anjean is more explicitly talking about Tetra, she also goes into more detail about why and how she ended up giving her the flute.

This is another one of the kinds of details I miss, since it gave us another small look into these characters and their relationship.

Just like in her first appearance, Anjean is talking about Tetra in a way that could almost come across as dismissive, but we can also tell from her general mannerisms that she was actually friendly with her.

For me, it gives off this impression that Anjean and Tetra were probably the kind of friends that might tease each other, or even come across as harsh, but really are good friends at the end of the day.

Either way, in addition to making most references to Tetra more vague, the English version also lacks these small insights into her interactions with Anjean.

-

Going back to the beginning of the scene now, the Japanese version has Anjean specifically state: “There are four temples in charge of the barrier!”

The English version instead has her say: “In each of the four realms is a temple.”

This change was probably made since “the barrier” has been written out, but it technically creates a small error here.

If you consider the Sand Realm its own realm, there would be five realms, not four. And even if you don’t, that would mean there are two temples in the Ocean Realm.

The phrasing in the Japanese version in turn actually leaves the possibility open for there to be other temples that aren’t related to the barrier, which we later learn is the case.

-

In the Japanese version, the lithographs specifically need “Force” to work, while the English version just refers to it as “energy”.

I talked about Force a bit in the translation notes already, and like I mentioned there, it’s supposed to be an energy that dwells within all living beings, and so forth.

It’s a recurring element in Japanese Zelda games, but the English localizations don’t always adapt it the same way, making the concept more obscure.

For example, the items called “Force Gems” that appear later in Spirit Tracks are also simply called “Force” in Japanese, and the “life force” mentioned in Phantom Hourglass was also originally called “Force”.

Even the Sands of Hours from that game are supposed to be made out of Force.

I’m guessing the English version changed “Force” to “energy” here because the general concept of Force isn’t as prominent in English Zelda games, so it might just be confusing if it was mentioned here without context.

Adding to this, the English version also says that the energy was lost because of “the Demon King’s power”, rather than “the power of the monsters”, which is probably also to simplify the idea?

-

Anjean’s explanation of the Lokomo features some minor differences, aside from the already familiar changes like “God” to “spirits” and mentions of “the barrier” being replaced with “the Spirit Tracks”.

In the Japanese version, Anjean says that the Lokomo are “close to the heavens”, which the English version leaves out, possibly due to religious implications?

Strangely though, the English version does allow Anjean to mention “the heavens” later in the story.

Perhaps there was a limit to how many times they could mention these things? That’s my best guess, assuming it’s not just a result of different writers working on different parts.

Anjean also mentions that the Lokomo have been performing their divine task “for generations”, which isn’t mentioned in English.

This is crucial information if one wishes to figure out the general timing of this game’s story, as this means the initial defeat and sealing of the Demon King Malladus occurred multiple Lokomo generations ago.

Since Lokomo live a lot longer than humans, this must have been a timeframe of at least several centuries.

Also, as a bit of trivia, the English version of this game uses “Lokomos” as the plural for Lokomo, but the English version of The Legend of Zelda: Encyclopedia uses “Lokomo” as the plural instead.

I personally prefer the latter, which is why I go with that as well.

-

Seemingly minor difference, but look at this line from Zelda here:

When I listen to its sound, I feel like I can keep going, even when things are unpleasant…

If I was sad or upset, the sound of this flute would make me feel better.

The English version treats Zelda being cheered up by the flute’s sound like it’s something from her past, presumably when it was being played for her as a child.

But the phrasing in the Japanese version implies this is something that is still true today.

And if you think back, you may recall that in an earlier scene, we do see Zelda playing the flute by herself in her room, as she waits for Link to answer her request.

So the implication here might be that in the present day, Zelda still plays the flute on her own, in order to cheer herself up or calm herself down.

-

Anjean’s directions are slightly different between versions.

In Japanese she directs the children to “southwest of this tower“, and in English to “South of the Forest Temple“.

Both lead to the same place of course, but I think the English version changed it since just “south” might be easier to remember than “southwest”?

Story content aside, another factor to consider during localization is making sure the text is easy to understand for the player from a gameplay perspective.

-

All in all, the localization in this cutscene is another pretty faithful one.

Most of the changes are just the same general ones that appear constantly, like “the barrier” being written out.

You can tell Anjean is a bit more serious in English, like I mentioned before, but the content of what she actually says is generally the same, too.

The biggest difference is the way the references to Tetra are handled here, especially since the localization was a lot more accurate about it previously.

And again, I can’t say for sure if changing Zelda’s mother to her grandmother in English was also an intentional rewrite to make it seem like it was Tetra. But as I said, it did make many fans believe it really was Tetra.

And references to Tetra really do suffer quite a bit in this localization, I’m afraid to say. Both due to the reasons I have already gone over, and more that’s to come.

This scene is just another part of that larger issue, but I think it’s where it really starts.

But that’s the end of this part right here. Feel free to check out the next one!

--

< Previous Part | Start | Next Part >

--

[sashico]

I write stories based on my memories, so it isn’t much about “my opinions”. At the same time, in order to explain the memories logically, I learn around my memories & why's. The more I learn, the more I realize how much Japanese & American are different in culture/mindset. (I live in the US so I say “American”.) I respect the U.S.  It is not about good or bad. I just want to share the difference so that the culture of Sashiko won’t be twisted more than necessary.  ☆ The (old-fashioned) Japanese value the “sincerity” more than anything. Let’s say, I had received a bit of defective furniture from a store. We are all human, so a mistake happens. What interests me is how we approach the issue. In the U.S., it is more peaceful for both sides (seller & buyer) to approach that the accident can be somewhat “compensated”  - so a buyer may ask for the discount for the bit of damage, and the seller may try to solve the issue with offering the reasonable offer. Everyone is happy, right? ☆ In Japan, a “sincere apology” for the accident has to come first. Seller’s saying “Oops. That’s unfortunate. Here is the discount” won't do good. The seller starts, “I am so sorry” and the buyer expects the sincerity (the buyer may not feel comfortable receiving a discount instead). It may be because the Japanese believe(d) "the sound has a spirit in it". Therefore, I say, the “word” matters to us. It is not just a description of “practice”. It is a “spirit” of ours. (There are many more reasons for "difference". This is just one  of my ideas.) ☆ The detail of stories is on Patreon. More photos of our products are on Our webs. Link from profile (@upcyclestitches and Portfolio). ☆ - - - ☆ 刺し子な福袋。混乱はありませんでした。何よりも一安心。ここからはしっかりお届けして、ご満足頂けるかに心を費やします。少しでも楽しい時間を過ごして頂ければ。 ☆ 刺し子を長年していると、こういう素敵な、そして物語が沢山詰まったものを手にする機会があります。5巾の風呂敷なのですが、この空白には実は意味があるような気がします。名前を入れて欲しいと作った側と、名前を入れられずに使い続けた側。補修があるから使ってるのは明らかです。なぜ、名前が入っていないのか。持ち主を存じ上げるからこそ思い描ける、刺し子をやっていてよかったなぁと思う瞬間です。日本人の当たり前、やっぱり大好きです。 ☆ #Sashiko #JapaneseSashiko #MindfulStitching #SlowStitch #Animism #Spirit #Ordinary #InVisibleMeniding #Furoshiki #日本の日常 #刺し子 #日本人の刺し子 #風呂敷 https://www.instagram.com/p/CJRGELBJHrL/?igshid=1b3fh0ssmom1j

[jokertrap-ran]

[Initial] 5★ Schnee (MOON) Translation

ＳＳ　笑顔が見たい Secret Story: I want to see your smile

CV: 下野 紘  (Shimono Hiro)

*Spoiler free: Translations will remain under cut *Name will remain as my normal ( ラン )

街の男達に襲われたランを、どうにか助け出してから数日後…―。 A few days after I had somehow managed to save her from being attacked by the group of men...

シ��ニー「……はぁ……」 Schnee: ...Haa...

外遊から帰ったフロ兄に先日の事件の詳細を報告し終えた僕は、自室に戻った後、ベッドに腰掛けながらふさぎ込んでいた。 After reporting the incident that had occurred the other day to my brother Frost, who had just recently returned from his trip, I returned to my room; sinking onto my bed.

シュニー「……ラン、明日帰っちゃうのか。あいつは僕の召使いなのに……」 Schnee: She’s going to be leaving tomorrow. Even though...even though she’s my servant.

報告の際、あんなにも低俗な奴らに苦戦してしまったことを咎められる覚悟はできていた。 During the report, I was most certainly prepared to receive a tongue-lashing for having struggled with such vile people.

けれどもフロ兄の口から出た言葉は、明日ランを国に帰せというもので…―。 But what I didn’t expect to hear when my brother opened his mouth to speak, was that she was leaving the day after.

シュニー「……くそっ！」 Schnee: ...Damn it!

もどかしさから、ベッドに拳を振り下ろす。 I slammed my fist down onto the bed in frustration.

（召使いは、主人から離れちゃいけないんだぞ。何があったって主人の傍にいなきゃ駄目なんだ。それなのに……） (Servants are bound to their master’s side! They have to stay by their side no matter what happens! And even still…!!)

逆恨みだとわかってはいるものの、ランを責めずにはいられない。 I was filled with resentment, but yet, I couldn’t find it in myself to blame her for it.

そうして行き場のない想いをぶつけるかのように、何度も何度もベッドに拳を振り下ろして…―。 So I thumped my fist repeatedly into the bed, trying to shake off this one-sided frustration I felt.

シュニー「はぁ、はぁ…………っ」 Schnee: Haa...Haa...

僕はやるせない思いを抱えながら、そのままベッドへと倒れ込んだ。 Filled with satisfaction, I flopped onto the bed.

（……どうしても、駄目なのかな。フロ兄にもう一度頼み込んだら、もしかして……） (...Isn’t there any way she can stay? Maybe if I ask my brother again, perhaps…)

シュニー「……あの様子じゃ無理かな……」 Schnee: ...I don’t think that’s going to work either, though...

ランを国に帰すと言われた瞬間、絶対に嫌だと抗ってはみたものの…… Earlier, when he told me to let her return to her own country...I had expressed my disdain at the idea of her leaving.

フロ兄は珍しく自分に対しても聞き分けのない僕に驚いたのか、一瞬だけ目を見開いた後、話は終わったとばかりに目を閉じてしまい、何を言っても一切聞き入れてはもらえなかった。 My brother’s eyes had widened for just a fraction of a second at my outburst, considering how I’ve never thrown a fuss for something that wasn’t directly related to my person. He closed his eyes with a sigh, refusing to hear a single word I said after.

（でも……あいつと離ればなれになるなんて、そんなの嫌だ……） (But I still don’t want to be separated from her…)

明日のことを思うと、胸の奥が痛む。 I felt a pang in my chest at the mere thought of tomorrow.

そうして僕が、思わず枕を抱きしめたそのとき…―。 And right when I found myself unconsciously hugging a pillow...

フロスト「シュニー、いるか」 Frost: Schnee, are you there?

ノックの音と共に、フロ兄の声が聞こえてくる。 I heard my brother’s voice coming from the other side of the door as a knock sounded.

シュニー「フ、フロ兄？ちょっと待って」 Schnee: F-Fro-nii? Wait a sec!

（なんだろう？話ならさっき終わったはずなのに） (What does he want from me? I thought we were already done speaking earlier.)

そう思いながらも、僕は慌てて飛び起きて部屋のドアを開ける。 I jumped out of bed in a hurry and went to open the door.

シュニー「どうしたの？わざわざ僕の部屋に来るなんて。あ、今侍女にお茶を用意させるから…―」 Schnee: What’s wrong? It’s rare for you to come knocking on my door. Oh, I’ll get the maid to prepare some tea-

フロスト「構わん。長居するつもりはない。一つだけお前に確認したいことがあってな」 Frost: No matter, I don’t plan on staying long. There’s just something I’d like to check with you.

シュニー「……？確認？」 Schnee: …? Check?

フロスト「ああ……トロイメアの姫は、お前の何だ？」 Frost: Yes. You said that the princess of Traumea was your...what again?

シュニー「え……？いきなりどうしたのさ？」 Schnee: Huh? Why are you bringing that up all of a sudden?

フロスト「質問で返すな。答えろ」 Frost: Don’t answer a question with another question; answer me.

シュニー「……っ、わかったよ。でも、さっきあいつは召使いだって説明したはずだけど……」 Schnee: ...Geez, alright. Well, I explained to you earlier that she was my servant, but...

フロスト「それは、本心か？」 Frost: Is that really true?

シュニー「え……？」 Schnee: What?

フロスト「ただの召使いにしては、妙に固執しているようだが」 Frost: You seem oddly attached to someone who’s merely a servant.

シュニー「固執……？」 Schnee: Attached…?

思いがけないフロ兄の言葉が、僕を困惑させる。 I was confused by the way the conversation was going.

フロスト「……まあいい。邪魔をしたな」 Frost: ...Nevermind. Sorry for disturbing you.

シュニー「あっ、フロ兄…―」 Schnee: Wait, Fro-nii…!

僕の言葉を最後まで聞くことなく、フロ兄は部屋を出て行ってしまった。 He left my room without hearing what I had to say.

シュニー「何だったんだ……？」 Schnee: What was all that about…?

不思議に思いながら、ベッドに戻って倒れ込む。 I laid back down on the bed, wondering what he had actually come here for.

（妙に固執してる、って。別にそんなつもりは……あいつは本当に、ただの召使いなんだし…―） (He said I was oddly attached to her? Of course not, she’s really just...just a servant, after all…)

そう思った瞬間、僕の頭に街の男達と対峙したときのことが過ぎった。 I recalled the time when I confronted the group of men.

シュニー「こいつに手を出すな！こいつは僕の…―」 Schnee: Don’t hurt her! She’s my-!

シュニー「そういえば、僕はあのとき…―」 Schnee: Right. Back then, I...

（何て言おうとしたんだ……？） (What was I trying to say back then…?)

とっさに出た言葉の先が自分でもわからずに、僕は首を傾げる。 I tilted my head to the side, unsure of what I had even intended to say.

シュニー「あいつは僕の召使い……ううん、なんか違う」 Schnee: She’s my servant...No, that’s not right.

（一緒にいたいって、あいつの笑顔が見たいって思う……それって） (I want to be together with her and see her smile...Does that mean…?)

そこまで考えて、僕はやっとひとつの言葉に行き着いた。 Thinking hard about it, I finally managed to come to a conclusion.

シュニー「友達……」 Schnee: A friend...

（僕はランのことを、友達だって思ってるんだ） (I think of her as a friend!)

シュニー「……」 Schnee: …… 

そう思うと、なんだか胸がふわふわして落ち着かない。 Realizing that fact made a warm bubbly feeling fill my chest that never seemed to go away.

シュニー「……けど、本当にそう思ってるなら、ずっと傍に置いておこうとするのはおかしいよな。友達って、多分そういうものじゃないと思うし……」 Schnee: But, if that’s true...then it’ll be weird if I keep her by my side all the time. I don’t think friends are like that…)

（だからあいつが帰るっていうなら、笑顔で送ってやらないといけないのかも） (Maybe that’s why I have to send her off with a smile, if she wishes to return back home.)

シュニー「…………よし、決めた」 Schnee: ...Alright. I’ve decided!

（明日は絶対、笑顔であいつを見送ろう。そして『また遊びに来いよ』って言ってやるんだ） (I’ll make sure to send her off with a smile tomorrow. And tell her “Come back and play again someday!”)

シュニー「……あ、もしかしてフロ兄、これに気づかせようと……？」 Schnee: ...Oh. Was he trying to make me realize this earlier…?

（うーん。でも、あのフロ兄がそんなこと考えるかな） (Hmmm...I don’t think he’d think this deeply into things, though.)

シュニー「……まあ、いっか。それより、明日は見送りなんだしそろそろ寝ないとな」 Schnee: ...Huh. Anyway! I’ve got to see her off tomorrow so I should turn in for the night!

そうして僕は、部屋の明かりを消し…… And thus, I turned off the lights in the room...

少しの寂しさを抱えたまま、眠りについたのだった…―。 And fell asleep; a little sad at the inevitable that was to come tomorrow...

おわり The END

[newhologram]

Kaibutsu-san (Monster-san)- Ken Hirai & Aimyon lyrics and translation

Usual disclaimer: I’m a JP student, not fluent, still learning. I also try not to do literal translations because it can feel stale. It’s more important to me to preserve the feeling than to give you a boring direct translation. Translation notes: My first time translating a duet! This one is juicy. Been obsessed with this song since it came out, so I’m very happy to finally get around to it. I had too much fun color-coding their text. The music video concept is so delicious too. 

FANSUB HERE Gifsets will be in my gifs tag More translations Like my J-Pop translations? Donate to my ko-fi or become a Patron. Translation, romaji, and kana below.

-----

Treat me the same as those other women I'm just not smart enough to be worthy of you

You're not what I'd consider precious, I'm sure to get tired of you So lie to me like you're kicking a pebble, and let me have peace of mind for now

I want to laugh and say I don't know, don't know I want to play the fool and say I don't understand, don't understand

But all I really want is For the me who loves you to go away, go away Right this minute, right now, just go away Completely disappear, disappear, if it has to be you This me that I hate, hate, hate, hate, hate so much

Hey, look how casually I ask if you're okay You're just being nice out of habit Whatever, I just want to hear your voice Oh, Hopeless Me Ah, I couldn't explain it if I tried I won't say I understand anyway Whatever, I still want to see you today This version of me Just go away!

Keep looking at me through that savvy pink filter The sound of your gulping thirst reaches my very core

You won't hear a thing from me, I don't want to see that hollow face But if it makes you feel better, I'll keep swallowing up your constant lies

I want to dance and say I don't know, don't know I want to party and say I don't understand, don't understand

But all I really want is For the me who loves you to go away, go away Right this minute, right now, just go away Completely disappear, disappear, if it has to be you This me that I hate, hate, hate, hate, hate so much

Hey, listen to the song I'm humming You're the only one who notices I can't help hoping a little Oh, Hopeless Me Ah, stay with me even if you look elsewhere Stay kind just the way you are Whatever, I still want to see you today This version of me Just go away!

But all I really want is For the me who loves you to go away, go away Right this minute, right now, just go away Completely disappear, disappear, if it has to be you This me that I hate, hate, hate, hate, hate so much

Hey, look how easily I ask if you're okay You're just being nice out of habit Whatever, I just want to hear your voice Oh, Hopeless Me Ah, I couldn't explain it if I tried I won't say I understand anyway Whatever, I still want to see you today This version of me Just go away!

Tell me what makes me so different from those other women Being without you is something I really can't imagine at all

----- watashi wo sokora no onna to onaji you ni atsukatte yo anata ni fusawashii ka nante  sonna ni wa kashikoku narenai wa

watashi ga omou kawaii jane  kitto anata akite shimau koishi keru mitai ni uso tsuite  toriaezu anshin saseteite

shiranai tte shiranai tte waratteitai wakaranai tte wakaranai tte toboketeitai

demo hontou wa inaku nare inaku nare  anata wo suki na watashi isso isso  inaku nare kiete shimae kiete shimae  anata janakya zettai iyana iyana iyana iyana iyana watashi

hora daijoubu? tte tayasuku kiku   perappera na yasashisa dakedo tonikaku koe ga kikitaku naru   dame na watashi aa  setsumei nante dekinai kara   wakatte nante iwanai kara tonikaku kyou mo aitaku naru   konna watashi   inaku nare

watashi ni PINKU no FIRUTAA wo umaku kakete miteite yo nodo wo narashi nomikonda mizu ga atashi no mannaka ni tsunagaru no

watashi kara wa nani mo kikanai ana no aita kao mitakunai anata ga kimochi yoku naru no nara  yoku aru uso mo nomikonde yaru

shiranai tte  shiranai tte  odotteitai wakaranai tte  wakaranai tte  hashaideitai

demo hontou wa inakunare  inakunare  anata wo suki na watashi isso  isso  inakunare kiete shimae  kiete shimae  anata ja nakya zettai iya na iya na iya na iya na iya na watashi

hora atashi ga utatta hanauta wo   anata dake ga kidzuite kureru wazuka na kitai tomerarenai   dame na watashi aa dokka muitete mo soba ni ite   anata no mama de yasashiku shite tonikaku kyou mo aitaku naru   konna watashi   inaku nare

demo hontou wa inakun are  inakun are  anata wo suki na watashi isso  isso  inaku nare kiete shimae  kiete shimae  anata janakya zettai iyana iyana iyana iyana iyana watashi

hora daijoubu? tte tayasuku kiku   perappera na yasashisa dakedo tonikaku koe ga kikitakunaru   dame na watashi aa  setsumei nante dekinai kara   wakatte nante iwanai kara tonikaku kyou mo aitaku naru   konna watashi   inaku nare

watashi ga sokora no onna to nani ga chigau ka oshiete yo anata ga inai watashi nante   hontou wa kangaerarenai no ----- 私をそこらの女と同じ様に扱ってよ あなたにふさわしいかなんて　そんなには賢くなれないわ

私が思うカワイイじゃね　きっとあなた飽きてしまう 小石蹴るみたいに嘘ついて　とりあえず安心させていて

知らないって　知らないって　笑っていたい わからないって　わからないって　とぼけていたい

でも本当は いなくなれ　いなくなれ　あなたを好きな私 いっそ　いっそ　いなくなれ 消えてしまえ　消えてしまえ　あなたじゃなきゃ絶対 嫌な　嫌な　嫌な　嫌な　嫌な私

ほら　大丈夫？って容易く聞く　 ぺらっぺらな優しさだけど とにかく声が聞きたくなる　 ダメな私 あぁ　説明なんて出来ないから　 わかってなんて言わないから とにかく今日も会いたくなる　 こんな私 いなくなれ

私にピンクのフィルターをうまくかけて見ていてよ 喉を鳴らし飲み込んだ水が　あたしの真ん中に繋がるの

私からは何も聞かない　穴の空いた顔見たくない あなたが気持ちよくなるのなら　よくある嘘も呑み込んでやる

知らないって　知らないって　踊っていたい わからないって　わからないって　はしゃいでいたい

でも本当は いなくなれ　いなくなれ　あなたを好きな私 いっそ　いっそ　いなくなれ 消えてしまえ　消えてしまえ　あなたじゃなきゃ絶対 嫌な　嫌な　嫌な　嫌な　嫌な私

ほら　あたしが歌った鼻歌を　 あなただけが気付いてくれる わずかな期待止められない　 ダメな私 あぁ　どっか向いててもそばにいて　 あなたのままで優しくして とにかく今日も会いたくなる　 こんな私　 いなくなれ

でも本当は いなくなれ　いなくなれ　あなたを好きな私 いっそ　いっそ　いなくなれ 消えてしまえ　消えてしまえ　あなたじゃなきゃ絶対 嫌な　嫌な　嫌な　嫌な　嫌な私

ほら　大丈夫？って容易く聞く　 ぺらっぺらな優しさだけど とにかく声が聞きたくなる　 ダメな私 あぁ　説明なんて出来ないから　 わかってなんて言わないから とにかく今日も会いたくなる　 こんな私 いなくなれ

私がそこらの女と何が違うか教えてよ あなたがいない私なんて　 本当は考えられないの

[haillenarte]

early 5.0 scions;

Here is a translation of Minfilia’s monologue from “The Lawless Ones,” the level 73 main story quest, and a translation of Y’shtola and Thancred’s conversation from “Into the Dark,” the level 74 main story quest.

I did this mainly because a friend asked me to. I... don’t have much else to say about it. I think it speaks for itself. I’ve also been pretty tired lately, but that’s neither here nor there.

I try in general to be loyal to the source text while prioritizing the styling of the localization, but I've chosen to be rather casual with Minfilia’s dialogue, firstly out of respect to her young age, and secondly because I’m not sure how else I should reflect her lack of authority and agency. In Japanese, she generally speaks with a kind of implied insecurity: she routinely calls the Minfilia from the Source the “real” Minfilia, implying that she is the “fake,” and she tends to refer to herself in ways that imply that she thinks of herself as a “thing” — she refers to herself as being “stored,” “put away,” or “taken out,” for example. This isn’t necessarily unusual, per se, but it strikes me as deliberate.

THE LAWLESS ONES アンチロウ “anti-law”

The “lawless” Nu Mou are called “the Anti-Laws” in Japanese as a reference to Ezel Berbier’s Anti-Law cards from Final Fantasy Tactics Advance.

ミンフィリア : あ……よかった……。 依頼の品、私もできるだけ回収してきました。 ミンフィリア : アンチロウのン・モゥたち、ちょっと怖かったですね……。 だけど、無事にすんでよかったです。

MINFILIA: Oh... There you are. Um... I left with as much of the ink as I could carry. MINFILIA: Those Anti-Laws are a little scary, aren’t they? It’s good that we’re both unharmed...

LOCALIZATION Minfilia: Oh, thank goodness. There you are. Minfilia: Those Nu Mou were rather frightening. I'm glad you're safe.

(The player is prompted at this point to choose one of three options. I’m not interested in recording or translating the outcomes of each response, so we’ll proceed with the first answer. If I recall correctly, it’s something along the lines of “I’m glad you’re safe” in both languages.)

ミンフィリア : ……はい！ あまり実戦経験がないので、緊張しましたが…… 少しでも役に立てていたら、嬉しいです。 ミンフィリア : ……先代までのミンフィリアは、ユールモア軍に加わって、 罪喰いと戦っていたそうです。 ミンフィリア : でも、私は戦う必要がなくなってから発見された……。 むしろ、勝手に罪喰いと戦わないように、 ユールモアにしまわれたんです。 ミンフィリア : だから、サンクレッドに連れ出してもらうまで、 戦い方も生き方も、何もわかっていなくって……。

MINFILIA: Oh... yes! Thank you. I don’t have much experience with combat, so I was rather nervous, but if I helped you even a little, then that’s a relief... MINFILIA: ...All the Minfilias before me joined the Eulmoran Army and helped fight the sin eaters, you see. MINFILIA: But I didn’t have to fight after I was discovered. They kept me in a cell so that I wouldn’t fight the sin eaters at all. MINFILIA: When Thancred came to retrieve me, I knew nothing of battle, and even less of life...

LOCALIZATION Minfilia: I haven't seen much actual combat, so I was a little nervous, but I'm happy I could help. Minfilia: The Minfilias before me battled sin eaters as part of the Eulmoran Army. Minfilia: But that had all changed by the time I was found. They held me captive so that I wouldn't follow in the others' footsteps. Minfilia: I'd still be in my cell now had Thancred not spirited me away. When he found me, I knew nothing of the world. I didn't know how to live, let alone fight.

ミンフィリア : もし、あなたの召喚が失敗におわったら、 大罪喰いと戦うのは、同じ加護を持つ私になる…… サンクレッドはそう言っていました。 ミンフィリア : あの人はきっと、 その可能性があったから私につきあっているだけで…… 本当は、今の私を見るのも嫌なんだと思います。 ミンフィリア : だって私は、本当のミンフィリアじゃない……！ あの人が家族みたいに大事に想ってるのは、私じゃないんです。

MINFILIA: Thancred once told me that if your summoning failed, then I would have to fight the Lightwardens with the Oracle’s blessing. MINFILIA: ...That’s really the only reason he keeps me around. The truth is, he can’t even stand to look at me. MINFILIA: Because I’m not the real Minfilia. I’m not the one he cared about — the one that was like family to him.

LOCALIZATION Minfilia: Thancred once told me that if the efforts to summon you failed, it would fall to me to face the Lightwardens. Minfilia: I realized then that it was the only reason he kept me close─as a contingency. The truth is, he can't stand to be around me. Minfilia: Because I'm not her. I'm not his Minfilia.

ミンフィリア : ……前に、ふたりで廃都ナバスアレンに行きました。 光の巫女が現れて、「光の氾濫」を止めたという場所へ。 ミンフィリア : そこが近づくと、私、自分が自分じゃないみたいに感じて…… 怖くて……見るのも聞くのも嫌で……。 多分、意識を失ったんだと思います。 ミンフィリア : ……そのあと何があったのかは、わかりません。 ミンフィリア : ただ、忘れかけの夢みたいにぼんやりと、 「本物」とサンクレッドが話していた気がして。 ミンフィリア : サンクレッドは真相を教えてくれなかったけれど、 それからときどき、一緒にいると、つらそうな顔をするんです。

MINFILIA: ...Once, we journeyed to the ruined city of Nabaath Areng. To the place where the Oracle appeared and stopped the Flood. MINFILIA: When we got closer, I... I started to feel like I wasn’t myself. I was... afraid. I didn’t want to... to see or listen to whatever was happening to me, and... and then I think I fell unconscious. MINFILIA: ...I’m not sure what happened after that. MINFILIA: But I have this vague feeling... the way one remembers a forgotten dream... that the real Minfilia spoke with Thancred. MINFILIA: He never told me the truth of what happened. But after that, sometimes he’d... he’d make this face like he was sick of me...

(A more strictly literal interpretation of what she says is “After that, sometimes, when we were together, he’d make a pained expression.”)

LOCALIZATION Minfilia: ...Once, we journeyed to Nabaath Areng together. To the place where the Oracle appeared and stayed the Flood. Minfilia: As we drew near, I felt as though...I was fading away... I shut my eyes and covered my ears, and then... And then... Minfilia: I'm not sure what happened after that. Minfilia: I have a vague feeling that I said something to him. Only it wasn't me at all. It was her. Minfilia: Afterwards, Thancred didn't say a word. Only kept to himself and brooded.

ミンフィリア : それに気づいても、私には何もできない。 助けてくれた人を、ずっと傷つけているだけ……。 ミンフィリア : だから私、本物のミンフィリアに変われたらと思うんです。 それで、私の中にある、私以外の想いに従っ��、 あなたに会いに行きました。 ミンフィリア : なのに、こうして一緒にいさせてもらっても、 どうして会わなきゃと思ったのかは、汲み取れないまま……。 ミンフィリア : 何かを伝えたい……ううん、誰かに会わせたい……？ そんな気が、するんですが……。

MINFILIA: ...I know how he feels, but there’s nothing I can do. I... I only ever hurt the people who’ve helped me. MINFILIA: It would be better if I were her — if I could become her, or trade places with her. So I listened to the... the thoughts inside me that aren’t from me, and then I set out to find you. MINFILIA: But now that you’re here... I just can’t seem to understand why she needed us to meet. MINFILIA: It’s like there’s something I have to tell you... or someone you have to talk to...? I get that feeling, but I just can’t —

Minfilia: There's nothing I can do for him. Nothing I can offer but my presence─though it only reminds him of his loss. Minfilia: She should be the one to live on. That's why I tried to find you─because I knew that was what she wanted. Minfilia: But now that you're here...I'm not entirely sure what it was she intended me to do. Minfilia: Was I meant to tell you something? Or bring you to someone? Or somewhere? I can feel the answer at the edge of my mind, just out of reach─

Next scene!

I’m not going to be the one to do the actual breakdown because I’m more than certain that there are dedicated Exarch fans who will do it without my input, but I should note that the Exarch is a much more immediately friendly character in Japanese, thus partially explaining Y’shtola’s adjusted attitude toward him in her first lines. The remainder of the conversation plays out much the same way, however, as she regards the tablet with suspicion because she suspects the Exarch has retained it as a “bargaining chip” for all this time.

INTO THE DARK ラケティカ大森林 "rak’tika greatwood” 

ヤ・シュトラ : そう……。 それで次は、ラケティカ大森林の大罪喰いを……。 ヤ・シュトラ : 私はね、これまで第一世界の歴史を調べていたのよ。 水晶公をまったく信用していないわけではないけれど、 情報のすべてを彼に依存するのは、危ういもの。

Y’SHTOLA: I see. And now you seek the Lightwarden of Rak’tika. Y’SHTOLA: For my part, I have spent much of my time researching the history of the First. The Crystal Exarch will have given you his own account, of course. I cannot say that I distrust him entirely, but I see little wisdom in acting solely upon the word of one man.

LOCALIZATION Y'shtola: I see. And now you seek the Lightwarden of Rak'tika. Y'shtola: In the days after I arrived in the First, I too relied upon the Crystal Exarch for guidance. But his penchant for secrecy and the telling of half-truths soon lost him my trust. And thus did I strike out on my own.

(I have decided not to translate the majority of this next section as there is little upon which I would differ with the localization. I’ve left the text in for your comparison.)

ヤ・シュトラ : そんな中で行きついたこの地も、かなり調査をしたわ。 ヤ・シュトラ : 結論から言えば、大罪喰いの所在は不明のまま。 けれど、だからこそ絞れるとも言えるのよ。 サンクレッド : ……と言うと？

LOCALIZATION Y'shtola: My work eventually led me here to the forest, which I have come to know like the back of my hand. Y'shtola: I cannot say with certainty where your quarry is hiding, but I am confident I can narrow the search. Thancred: Well...go on, then.

ヤ・シュトラ : 数千年前、ここラケティカ大森林は、 ロンカ帝国という大国の中心地だった……。 ヤ・シュトラ : 現在も、ここから東側に広がる「イキス・マヤエの森」には、 その遺構が多く残されているというわ。 ヤ・シュトラ : そして驚くべきことに、 それらの遺構は、いまだに護られているのよ。 いにしえより続く、ロンカの護り手たちによって……。 ヤ・シュトラ : 彼女たちは、よそ者の侵入を許さない。 話し合いの余地すらなく、追い払おうとしてくるわ。 ヤ・シュトラ : 私も何度か調査を試みたけれど、 攻撃を受けながらじゃ、さすがに調べものにならなかった。

LOCALIZATION Y'shtola: Some few thousand years ago, this forest stood at the heart of the empire of Ronka. Y'shtola: A great many relics of that civilization can still be found to the east in Yx'Maja. Y'shtola: Or rather, could be found─were the area not fiercely guarded. Y'shtola: Yx'Maja, you see, is home to a tribe of warriors whose lineage is said to date back to the time of the empire. Any attempt to enter their territory is met with lethal force. They offer no warnings, and suffer no trespasser to escape. Y'shtola: Needless to say, my every attempt to survey the area has been thwarted.

ウリエンジェ : となれば、イキス・マヤエの森…… ないし、その護り手たちの領域に、 大罪喰いが潜んでいる可能性がある……。 ヤ・シュトラ : そこにきて、水晶公からロンカの石板とはね。 ヤ・シュトラ : まったく、手土産とはよく言ったものだわ。 何かのときのためにとっておいた、私との交渉材料ではなくて？ ヤ・シュトラ : ……とはいえ、解読してみる価値はありそうよ。 ここから、かの森への侵入方法でもわかるといいのだけれど。 ウリエンジェ : その解読、微力ながらお手伝いいたしましょう。 ヤ・シュトラ : 助かるわ。 なかなか手ごわそうな相手だもの。 ヤ・シュトラ : その間、スリザーバウの散策をしてきてはどうかしら？ ヤ・シュトラ : もうしばらくしたら…… 「闇の戦士」と呼ばれているあなたにとって、 意味のあるものが見られると思うわ。

LOCALIZATION Urianger: Mayhap the Warden hideth there full knowing none may approach it for fear of these protectors. Y'shtola: As for the tablet... Y'shtola: I find the timing of its discovery suspiciously convenient. If I did not know better, I would think someone was trying to curry favor with me. Y'shtola: Regardless, it will take time to decipher these writings. Yet I would not be at all surprised if they somehow held the key to entering Yx'Maja unmolested. The Exarch has a nose for serendipity. Urianger: If there is aught I can do to assist thee in unraveling their secrets, thou need'st only ask. Y'shtola: Thank you, Urianger. I may well take you up on that offer. Y'shtola: While we set to work, might I suggest you take a tour of the city? Y'shtola: Should you be in any doubt as to the importance of your role as the “Warrior of Darkness,” the people here will surely cure you of it.

(Here’s the part I’m actually interested in translating:)

サンクレッド : ……不思議なものだな。 今のお前は、とても活き活きして見える。 ともすれば、向こうの世界にいたときよりもだ。 ヤ・シュトラ : 当然よ、だって私は…… 私の師匠も、ずっと世界の成り立ちを解き明かそうとしていた。 ヤ・シュトラ : 鏡像世界に渡れるなんて、またとない探求の機会だわ。 ここで得られる知識は、どれもとても刺激的よ。 ヤ・シュトラ : ……あなたはどうなの、サンクレッド。 念願のお姫様と会えて、幸せかしら？ サンクレッド : お互いもうガキじゃないんだ、皮肉はやめておけ。 ……俺は、偵察に行ってくる。

THANCRED: ...Marvel of marvels. I've never seen her so enthusiastic. I must say, Y’shtola, you seem happier here than you ever were in our world. Y’SHTOLA: You find that unnatural? Lest you forget, Master Matoya and I were ever dedicated to the study of the world’s foundations. Y’SHTOLA: The opportunity to explore a reflection of the Source is unlike any other. The mere thought of all the new knowledge available to us here should be enough to make any true scholar’s blood boil. So, yes: to answer your point, I am happy. Y’SHTOLA: ...And what of you, Thancred? Are you happy now that you've met your beloved princess? THANCRED: We aren’t children, Y’shtola, and you know very well this is no tale of knights and princesses. The sarcasm is hardly necessary. ...I’ll make myself of use.

(Quite a lot to unpack here, and this is just my take on a very odd conversation. Since I’m sure people will want it, here it is in a super-clunky, source-loyal format:

THANCRED: How mysterious. You seem rather lively right now. Certainly more lively than you were in the world beyond. Y’SHTOLA: Naturally. That is because I... My master and I have always tried to solve the origins of the world. Y’SHTOLA: Being able to cross into this reflection and explore it is an opportunity like none other. The information that might be gathered here is intellectually exciting. Y’SHTOLA: And what about you, Thancred? After meeting the princess you longed for... are you happy? THANCRED: Neither you nor I are children, so cut the sarcasm. ...I’m going to do some scouting.)

LOCALIZATION Thancred: I must say, Y'shtola...while most of us have struggled to come to terms with our altered circumstances, you seem to have adapted rather well. Y'shtola: Lest you forget, Master Matoya and I dedicated our lives to uncovering the truth which hides at the heart of our world. Y'shtola: Though separate, the fate of this reflection is nevertheless bound to that of our home. That I would be daunted by such an invaluable opportunity is absurd. Y'shtola: But what of you, Thancred? Could it be that you are still struggling to “come to terms” with the nature of your young companion? Thancred: My “struggles” are none of your concern. Quite why you would speak thus─and in this company─I do not know. Perhaps you left more of yourself back in the Source than I assumed. If you'll excuse me.

ミンフィリア : あの……違うんです。 サンクレッドは、私が本物じゃないから……。 ヤ・シュトラ : 思いどおりにならない理由を挙げるのは簡単よ。 大事なのは、それにどう対処するかだわ。 ヤ・シュトラ : とくに、あなたたちの抱えているものは大きい。 ただ待っていても、誰も肩代わりはしてくれなくてよ。 ヤ・シュトラ : あなたも散策に行ってきなさいな。 新しいものに触れれば、違う考え方もできるかもしれないわ。

MINFILIA: Um... I think you’ve misunderstood. Thancred, he... he knows I’m not the real Minfilia... so... Y’SHTOLA: It is simple, is it not, child? To sit and enumerate the myriad forces working to keep you from your heart’s desire. Far more difficult — and more important — is how you plan to combat those forces. Y’SHTOLA: We must all learn to carry our own weight. Wait as you will, none will shoulder your burdens for you. Y’SHTOLA: Why not go for a breath of fresh air? Perhaps, given time, you will learn to think differently.

(I fully admit I may have misinterpreted something about Y’shtola’s monologue here, as it’s pretty vague and hard to follow. Here’s the rough reading of what I was working with:

Y’SHTOLA: It’s easy to list the reasons that things won’t turn out as you want them to. But the important thing is how you deal with them. Y’SHTOLA: The burdens that you all have are heavy. But even if you wait, nobody else will take on those burdens for you. Y’SHTOLA: ...You should go for a walk. If you come across something new, you might be able to think differently.)

LOCALIZATION Minfilia: He understands that I'm not the same. That I'm not her. Y'shtola: Understands, perhaps, but does not accept. The question being whether he ever will. Y'shtola: And whether you will, more importantly. As difficult as your circumstances may be, they are yours, not his. 'Tis you and you alone who bears ultimate responsibility for your life. Y'shtola: But you need not make any hard choices now. Why not go and get some fresh air─clear your head?

[daeva-agas]

Found this interesting quote that suggests Nobunaga is not against superstitions, and possibly even believes in them.

「南都（奈良）が相果てれば（松永久秀による焼き討ちでの東大寺焼亡）、北嶺（ほくれい、比叡山）も滅亡する。そうなれば王城（京の御所）にも災いが及ぶ、と兼見の父・兼右が説いたが、本当にそういうことになるのか」

Nobunaga asked:  Nanto (Nara) has been laid to waste (referring to Matsunaga HIsahide torching Toudaiji). Hokurei (Mount Hiei) is also destroyed. Your father Kanemigi said that when that occurs, disaster will befall the Imperial Palace. Is that true?

「昔からそう言われていますが、典拠となるような文書はありません」

Kanemi replied: This has been said since long ago, however there’s been no text recorded to proof it. 

Source: 『兼見卿記』(Kanemi Kyouki)

Funny coincidence, this conversation apparently happens on the first day of the fourth month. Though it’s not quite April Fool, because when you convert the Lunar date to Gregorian, it becomes May 12 (and it’s not Nobu’s birthday either). 

Not sure what this superstition is all about. Can’t find it for the life of me. “Nanto Hokurei” is a classic term referring to two major Buddhist sites. I can understand Mount Hiei. When the people decided to build a new capital in Kyoto, they decided that place specifically so that Mount Hiei can be the “barrier” against the “demon gate” (the north east direction). I have no idea what the Nara connection was about. 

What’s interesting is the sects in Nara and the Mt Hiei people don’t like each other and fight a lot, and “Nanto Hokurei” seems to have been once an old catch-all term to refer to “all Buddhist sects”. 

I’m also not entirely sure what Nobu’s concern was. After digging around, the only thing I found was that shortly after Nobunaga and shogun Yoshiaki had a massive confrontation and the shogun was ousted not too long after. In the process Kyoto itself got torched. Maybe there’s a connection, maybe not.

I mean, there’s theory floating around that Nobu is actually loyal to the imperial court. He ousted the shogun with the intention of letting the emperor have the power again. Which, you know, actually reaaally explains the Dairokuten Maou thing. Aside from being the enemy of Buddhism, in some Shinto lore the Dairokuten Maou is actually the protector of the imperial bloodline and throne.

[vngameaholic]

{❀} Takeda Shingen

　　イケメン戦国◆時をかける恋 　　　　　Ikémen Sengoku 　　　　Romances Across Time ╭───╯  JP | ENG Walkthrough ╰───·····► Takeda Shingen ’s Route

Note: 

At the end of Ch.10, the story is split into 2 routes: Romantic and Dramatic. As you read the story, you will be presented with various choices. Fill your Love Gauge and you’ll get something extra special at the end.

 ＼ ( ○＾ω＾○ )／

Left: Romantic pts | Right: Dramatic pts

❀ ┈┈•• ✦ Chapter 01 ✦ ••┈┈

前半・First Half +2　+4　❀ っ……結構です +4　+4　❀ また、今度 +4　+2　❀ ええっと…

+2　+4　❀ No, thanks. +4　+4　❀ Some other time. +4　+2　❀ Not with a stranger.

後半・Second Half +2　+4　❀ どうして…… +4　+4　❀ なに、言って…… +4　+2　❀ え……

+2　+4　❀ Why do I matter? +4　+4　❀ …Seriously? +4　+2　❀ Not falling for that.

❀ ┈┈•• ✦ Chapter 02 ✦ ••┈┈

前半・First Half +4　+4　❀ …… +2　+4　❀ 大丈夫なわけない +4　+2　❀ まあ…

+4　+4　❀ Say nothing. +2　+4　❀ Am I all right? +4　+2　❀ Physically? No.

後半・Second Half +2　+4　❀ 何もさせません +4　+2　❀ やめてください… +4　+4　❀ からかわないでください

+2　+4　❀ There’s no next time. +4　+2　❀ Could you stop? +4　+4　❀ Can’t you be serious?

❀ ┈┈•• ✦ Chapter 03 ✦ ••┈┈

前半・First Half +4　+2　❀ そ、そうですか +2　+4　❀ 軽く言わないでください +4　+4　❀ 食べたらお腹壊しますよ

+4　+2　❀ Uh-huh. +2　+4　❀ Stop flirting. +4　+4　❀ You’ll get indigestion.

後半・Second Half +2　+4　❀ 笑いませんよ +4　+4　❀ …笑ったら、どうするつもりですか +4　+2　❀ 騙されません

+2　+4　❀ I’m not smiling. +4　+4　❀ Is our bet still on? +4　+2　❀ You can’t trick me.

❀ ┈┈•• ✦ Chapter 04 ✦ ••┈┈

前半・First Half +2　+4　❀ 誰だって心配しますよ +4　+4　❀ びっくりさせないでください +4　+2　❀ ……駄目です

+2　+4　❀ I worry about everyone. +4　+4　❀ Just be careful. +4　+2　❀ No, you didn’t.

後半・Second Half +4　+4　❀ そういうつもりじゃないです +4　+2　❀ 謙信様を止めようと思って +2　+4　❀ お構いなく…

+4　+4　❀ I didn’t. +4　+2　❀ I’m here for Sasuke. +2　+4　❀ Don’t mind me.

❀ ┈┈•• ✦ Chapter 05 ✦ ••┈┈

前半・First Half +4　+2　❀ まさか… +4　+4　❀ あなたのせいじゃないですか +2　+4　❀ …嘘です

+4　+2　❀ I don’t believe that. +4　+4　❀ That’s your fault. +2　+4　❀ You’re lying to me.

後半・Second Half +2　+4　❀ …… +4　+2　❀ 天女なんかじゃありません +4　+4　❀ どうして…

+2　+4　❀ That’s depressing. +4　+2　❀ I’m not a goddess. +4　+4　❀ Why bring that up?

❀ ┈┈•• ✦ Chapter 06 ✦ ••┈┈

前半・First Half +2　+4　❀ もういいです +4　+2　❀ そんなことより… +4　+4　❀ ありがとうございます

+2　+4　❀ Don’t explain. +4　+2　❀ Let’s move on. +4　+4　❀ Thanks.

後半・Second Half +4　+2　❀ なんで…？ +4　+4　❀ 待ってください +2　+4　❀ 自分で食べられます

+4　+2　❀ Why? +4　+4　❀ And say 'ahh'? +2　+4　❀ I can feed myself.

❀ ┈┈•• ✦ Chapter 07 ✦ ••┈┈

前半・First Half +4　+4　❀ 忘れたりなんてしない +2　+4　❀ なんとなく… +4　+2　❀ 今思い出しました

+4　+4　❀ Of course I remembered. +2　+4　❀ It’s hard to forget. +4　+2　❀ Just popped in my head.

後半・Second Half +4　+4　❀ 言えません +4　+2　❀ 意地悪です +2　+4　❀ 知りません

+4　+4　❀ The hint is no hint. +4　+2　❀ Of course not. +2　+4　❀ How should I know?

❀ ┈┈•• ✦ Chapter 08 ✦ ••┈┈

前半・First Half +2　+4　❀ 見ないで +4　+4　❀ 誰のせいだと思って… +4　+2　❀ そんなことないです

+2　+4　❀ My eyes aren’t me. +4　+4　❀ I’m thinking. +4　+2　❀ My eyes are liars.

後半・Second Half +4　+2　❀ それはそうですけれど… +2　+4　❀ それとこれとは話が別 +4　+4　❀ 今は…

+4　+2　❀ I was. +2　+4　❀ This is separate. +4　+4　❀ I changed my mind.

❀ ┈┈•• ✦ Chapter 09 ✦ ••┈┈

前半・First Half +2　+4　❀ 関係ありません +4　+2　❀ …っ +4　+4　❀ ええ

+2　+4　❀ Why does that matter? +4　+2　❀ Why bring him up? +4　+4　❀ He played a role. Yes.

後半・Second Half +4　+4　❀ そんなにわかりやすいかな +2　+4　❀ 嫌いでいられたらよかった +4　+2　❀ …うん

+4　+4　❀ Was it easy to tell? +2　+4　❀ If only I wasn’t. +4　+2　❀ Yeah.

❀ ┈┈•• ✦ Chapter 10 ✦ ••┈┈

前半・First Half +2　+4　❀ 夜這いじゃありません +4　+2　❀ 相変わらずですね +4　+4　❀ お願いだから…

+2　+4　❀ It’s not a tryst. +4　+2　❀ You haven’t changed. +4　+4　❀ This is important.

後半・Second Half +4　+2　❀ 本当ですか？ +2　+4　❀ 嬉しいです +4　+4　❀ 信じられません

+4　+2　❀ Really now? +2　+4　❀ I’m happy to hear that. +4　+4　❀ I didn’t either.

Note: Complete both endings for a voice story!✧˖°♡

❀ ┈┈•• ✦ Chapter 11 ✦ ••┈┈

前半・First Half +2　+4　❀ ごめん +4　+2　❀ そんなことないよ +4　+4　❀ つい…

+2　+4　❀ Sorry! +4　+2　❀ That guy? Pff. +4　+4　❀ Yeah, I drifted off.

後半・Second Half +4　+2　❀ 信玄様の頬に触れる +4　+4　❀ 信玄様の胸に手を触れる +2　+4　❀ 信玄様の手を握る

+4　+2　❀ I cupped his cheeks. +4　+4　❀ I touched his chest. +2　+4　❀ I took his hand.

❀ ┈┈•• ✦ Chapter 12 ✦ ••┈┈

前半・First Half +4　+4　❀ 今だけです +2　+4　❀ 信玄様のせいです +4　+2　❀ これは汗です

+4　+4　❀ Just this once. +2　+4　❀ Because I love you. +4　+2　❀ They’re raindrops.

後半・Second Half +2　+4　❀ 信玄様の頬を両手で挟む +4　+2　❀ 信玄様の胸を押し戻す +4　+4　❀ 信玄様の口を覆う

+2　+4　❀ Someone’s at the window! +4　+2　❀ The bed’s too small! +4　+4　❀ Shh! I hear Sasuke!

❀ ┈┈•• ✦ Chapter 13 ✦ ••┈┈

前半・First Half +4　+2　❀ 幸村は？ +2　+4　❀ 謙信様は？ +4　+4　❀ 私も…

+4　+2　❀ And Yukimura? +2　+4　❀ And Kenshin? +4　+4　❀ As for me—

後半・Second Half +4　+2　❀ どうして？ +2　+4　❀ 本当ですか +4　+4　❀ 前から

+4　+2　❀ What brought this on? +2　+4　❀ Do you mean it? +4　+4　❀ You already kept them.

❀ ┈┈•• ✦ Epilogue ✦ ••┈┈

+4　+2　❀ 不満じゃないです +2　+4　❀ 不意打ちはだめ +4　+4　❀ 別のものって？

+4　+2　❀ I’m well pleased. +2　+4　❀ Not so quickly. +4　+4　❀ My prize options?

❀ ┈┈•• ✦ Chapter 11 ✦ ••┈┈

前半・First Half +4　+4　❀ 何もありません +4　+2　❀ 見ないでください +2　+4　❀ 絶好調なんです

+4　+4　❀ Back off, guys. +4　+2　❀ What? Stop staring! +2　+4　❀ I’m just hyped!

後半・Second Half +2　+4　❀ ひどすぎるよ… +4　+4　❀ そばに行きたい +4　+2　❀ どうして…

+2　+4　❀ (He trusted Kennyo.) +4　+4　❀ (I should be with him.) +4　+2　❀ (Why did this happen?)

❀ ┈┈•• ✦ Chapter 12 ✦ ••┈┈

前半・First Half +2　+4　❀ ひどいです… +4　+2　❀ ……はい +4　+4　❀ 続きって…

+2　+4　❀ Leave after that? +4　+2　❀ …Yeah. +4　+4　❀ That’s some magic.

後半・Second Half +4　+2　❀ だとしたら… +2　+4　❀ どうして… +4　+4　❀ …はい

+4　+2　❀ What if I do? +2　+4　❀ Why are you asking? +4　+4　❀ Yes!

❀ ┈┈•• ✦ Chapter 13 ✦ ••┈┈

前半・First Half +4　+2　❀ なんだか���愛いです +4　+4　❀ こっち向いて +2　+4　❀ 嬉しいです

+4　+2　❀ You’re being cute. +4　+4　❀ Show me your eyes. +2　+4　❀ I’m happy to hear that.

後半・Second Half +4　+4　❀ それより… +4　+2　❀ だ、だめ +2　+4　❀ っ……

+4　+4　❀ Distract with a ploy! +4　+2　❀ Put the battle on hold. +2　+4　❀ Surrender the engagement.

❀ ┈┈•• ✦ Epilogue ✦ ••┈┈

+2　+4　❀ 逃げようとする +4　+2　❀ びくりとする +4　+4　❀ 信玄様を押しのけようとする

+2　+4　❀ I started to flee. +4　+2　❀ I jolted. +4　+4　❀ I laughed.

[four-loose-screws]

Chrom / Gaius Supports - Localization vs. the Original Japanese

FE Game Script Translations - FE Novel Translations - Original FE Support Conversations - Ko-fi

In this post series, I’m analyzing all of Chrom’s supports to see if he was any different in the localization!

———————————

C Support

As I’ve talked about before, Gaius’ nickname giving is a complete addition in the localization.

Japanese:

[クロム] (Chrom)

ガイア、ちょっといいか？▼ (Gaius, do you have a minute?)

[ガイア] (Gaius)

なんだ？▼ (What’s up?)

[クロム] (Chrom)

お前、以前は盗賊として (As a thief, you used to)

色んな場所へ行った事があるんだろう？▼ (go to all kinds of places, right?)

Localization:

Chrom:

Gaius, do you have a moment?

Gaius:

What's up, Blue?

Chrom:

...Blue? Er, right. Well, you must have traveled a lot in your line of work, yes?

And that’s not the only bit of Gaius’ dialogue that’s jazzed up in the localization.

Japanese:

[ガイア] (Gaius)

そうだが… ((Yeah, but...) 何か問題にでもなったか？▼ (Is there a problem of some kind?)

Localization:

Gaius: Sure did! Us thieves tend to outstay our welcome in a hurry.

And again...

Japanese:

[ガイア] (Gaius)

お前が思ってるほどいいものじゃないぞ。(It’s not what you think.) 盗賊稼業は厳しいものだ。▼ (Being a thief is really harsh.) 物見遊山で世界中を (We weren’t really going around the world) めぐっていたわけじゃない。▼ (on a fun trip.)

[クロム] (Chrom)

そうだな。すまない。(I see. Sorry.) 変な事を聞いた。▼ (It was a strange question.)

[ガイア] (Gaius)

どうしてそんなことを？ (Why say that?) …ひょっとして、今の状態がイヤなのか？▼ (...Maybe you found my tone just now unpleasant?)

Localization:

Gaius: Ha! You royals up in your pointy towers really don't have a clue! You think us commoners are free to just spend our days sauntering along! Think we pick daisies and gaze at tourist attractions and eat bonbons all day!

Chrom: Look, that's not what I was implying at all. ...And I think you know it.   Gaius: So what's the problem? Tired of silk pants and the undying adoration of the masses?

Here to talk about Chrom, but there’s so much about Gaius! In the Japanese, Gaius stops being quite being so harsh with Chrom at the end. Not that there isn’t anything to say about Chrom here. His line in the localization has more to it, though the point he’s making is still all the same.

Japanese:

[ガイア] (Gaius)

なるほど。(I see.) 王族ってのも楽じゃないんだな。▼ (Being royalty isn’t easy, either.)

[クロム] (Chrom)

まあな。だが飢えに (Yeah, sort of. But I wasn’t suffering) 苦しんだりしているわけじゃない。▼ (from hunger or anything like that.) ぜいたくな話と言えば (If you wanna talk luxuriance,) 返す言葉はないんだけどな。▼ (then I won’t have any comeback for that.)

[ガイア] (Gaius)

……▼ (...)

Localization:

Gaius: Sounds like a serious case of not being able to count your blessings. Chrom: It's true—I'm never hungry, I've a hot bath and a warm bed, people leap to my aid... Perhaps you're right. What right have I to complain of such a life? Gaius: Bingo.

B Support

Again, the nickname bit is totally added in the localization.

Japanese:

[ガイア] (Gaius)

クロム。▼ (Chrom.)

[クロム] (Chrom)

ガイアか、どうした？▼ (What is it, Gaius?)

Localization:

Gaius:

Heya, Blue.

Chrom:

You know, I really wish you wouldn't call me... Never mind. What can I do for you, Gaius?

Again, it’s always Gaius’ language that’s jazzed up with extra comments, but Chrom’s lines don’t experience much change.

Japanese:

[ガイア] (Gaius)

じゃあ、明日はどうだ？▼ (Then what are you doing tomorrow?)

[クロム] (Chrom)

明日か…▼ (Tomorrow...?) 明日は今後の作戦について (Tomorrow, I have a meeting) 詳細をつめるつもりでいた。▼ (to hash out the details of our next strategy.)

[ガイア] (Gaius)

…お前、本当に忙しいんだな。▼ (...You really are busy.)

[クロム] (Chrom)

なにかあるのか？ (Is there something you need me for?) 必要なら時間を作るが。▼  (I’ll make time if I need to.)

Localization:

Gaius:

Boooooor-ing. What about tomorrow?

Chrom:

Tomorrow I meet with the war council to discuss strategy and tactics.

Gaius:

Man! It's all work and no play for our fair leader, isn't it?

Chrom:

...What exactly did you want, Gaius? If it's important, I'll carve out some time.

A Support

Again, Gaius’ lines are a bit jazzed up in almost every exchange.

Japanese:

[ガイア] (Gaius)

来たか、クロム。(So you came, Chrom.)

準備はいいか？▼ (Are you ready?)

Localization:

Gaius: Finished your preparations? Ready to sample life outside the gilded cage?

Gaius doesn’t make any comments about Chrom’s fashion sense in the Japanese, instead taking surprise in the fact that Chrom isn’t already aware of what “go out” refers to.

[ガイア] (Gaius)

野暮だな。出かけるといえば (You’re awful boorish, aren’t you? When I say “go out,”) 盛り場にくりだすに決まっているじゃないか。▼ (isn’t it obvious I mean we’re going to hang out in a popular place where a lot of people go!)

[クロム] (Chrom)

盛り場？　いやしかし…▼ (“A popular place where a lot of people go?” Well yeah, but...)

[ガイア] (Gaius)

なんだ、逃げるのか？(What’s that, are you gonna run away?) 自由な世界を知りたいんだろう？▼ (You said you wanted to know what the world of freedom is like, right?) 今から色々ゆっくり教えてやるよ。(I’m going to take the time to teach you all kinds of things.) さ、行くぞ。▼ (Now, let’s go!)

Localization:

Gaius:

Seriously, Blue?! Gods, if you royals aren't the most coddled set of... Look, we're going out to have fun. You know about fun, right? So try to wear something that doesn't look like it was stolen from a corpse.

Chrom:

Hey, I have a very keen fashion sense, thank you very much!

Gaius:

...Well, I suppose those clothes'll have to do, then. Come on, Blue. Quit your grumblin'. I'll explain on the way.

In the Japanese, Chrom doesn’t say anything about what he saw on the trip.

Japanese:

[クロム] (Chrom)

そ、そうだな… (Y-Yeah...) とにかく勉強にはなった。▼ (anyway, I learned a lot.)

Localization:

Chrom:

Well, I suppose so. I'd never seen a man juggle flaming hams before... And when those acrobats got into a knife fight...that was really something.

And again, more Gaius...

Japanese:

[ガイア] (Gaius)

本当にそうか？▼ (Really?) やろうと思えば今日だって (If you think about it, today,) 新しい世界を見ることができた。▼ (you were able to see a new world.) お前は『王族』によりかかって (As "royalty,”) 自分で世界を狭くしてるんじゃないか？▼ (your world is small, isn’t it?) 王族だろうと、流れ者だろうと (Whether royalty or a vagrant,) 見る気があるかって事だと思うがな。▼ (I think it’s all about what you want to see.)

Localization:

Gaius: So then? Still think you're trapped in a prison made of diamonds and baby tears? Today you wanted to experience something new, and that's exactly what we did! No one tried to stop you. No one asked for your autograph. Nothing stood in the way except your own royal reserve. King or traveling minstrel, the world is as narrow or wide as you make it.

----------------------------------

And that’s all for this support set! For all the talk that needed to be done about Gaius lines, Chrom was nearly the same. His lines mostly changed just to react to Gaius’ changes in the conversations.

And since I’ve taked about Gaius before, I’ve only so much to say about him here. The localization really focused on cranked up his joking and sarcasm, to make him stand out in the world of FE thieves, and fit a culture where people are much more likely to be cracking jokes and sarcasm all the time. I think it does a lot to enhance the personality the Japanese set for the Western audience. I think it’s a changed that works well!

Next up is Chrom / Olivia!

[redux-pain]

chapter 04: an awkward time at Sweet Ring, part 2

ささ、西条君食べて食べて。

ここは本当にどれ食べても 美味しいんだから。

Ｓａｉｊｏ，　ｅａｔ　ｕｐ．

Ｅｖｅｒｙｔｈｉｎｇ　ｈｅｒｅ　ｔａｓｔｅｓ ｒｅａｌｌｙ　ｇｏｏｄ．

[MIKA:] Eat, Saijou-kun, eat!

Everything here is delicious.

---

今日は招待状をもらった人だけだから のんびりと食べられるけど。

普段はすっごい順番待ちなんだよ。

Ｔｏｄａｙ　ｉｓ　ｉｎｖｉｔｅ　ｏｎｌｙ　ｓｏ ｗｅ　ｃａｎ　ｔａｋｅ　ｏｕｒ　ｔｉｍｅ．

Ｎｏｒｍａｌｌｙ　ｔｈｅｒｅ’ｓ　ａ　ｌｉｎｅ．

[MIKA:] Today’s just for people who’ve gotten a written invitation, so we can take our time.

Usually there’s a huge line.

---

それじゃ、始めますか！ ささ、グラス持って！

おじさん開店おめでと～！ かんぱ～い！

Ｌｅｔ’ｓ　ｂｅｇｉｎ！ Ｈｏｌｄ　ｕｐ　ｙｏｕｒ　ｇｌａｓｓ！

[MIKA:] Okay, let’s start! Grab a glass!

---

ミカは調理場に居る 御堂の父ケンイチに言った。

ミカがグラスを掲げ、 ３人で乾杯をする。

奥の調理場からケンイチが 笑顔でその様子を見ていた。

Ｍｉｋａ　ｍａｋｅｓ　ａ　ｔｏａｓｔ　ｔｏ　 Ａｋｉｒａ’ｓ　ｆａｔｈｅｒ，　Ｋｅｎｉｃｈｉ．

Ｃｈｅｅｒｓ　ｔｏ　Ｋｅｎｉｃｈｉ’ｓ ｒｅｓｔａｕｒａｎｔ’ｓ　ｇｒａｎｄ　ｏｐｅｎｉｎｇ！

/Mika spoke to Midou’s father Ken’ichi in the kitchen./

[MIKA:] Congratulations on your opening, Midou-san! Cheers!

[note:

There’s a weird jump downward in the script for the three stage direction lines, since they have the greyed out effect on them and are grouped with some other similar lines at the bottom. They ended up translated a little wrong thanks to not appearing in context.

Another talking-heads scene translated separately, another inconsistency--in the main scene, “ojisan” is translated as “Mr. Mido”, not his given name, which in Japanese terms would be WAY rude for your friend’s father.]

---

Ｍｉｋａ　ｈｏｌｄｓ　ｕｐ　ｈｅｒ　ｇｌａｓｓ　ａｎｄ ｔｈｅ　３　ｏｆ　ｔｈｅｍ　ｓａｙ　”ｃｈｅｅｒｓ”．

Ｋｅｎｉｃｈｉ　ｃｏｍｅｓ　ｏｕｔ　ｏｆ　ｔｈｅ ｋｉｔｃｈｅｎ　ａｎｄ　ｓｅｅｓ　ｔｈｅｍ．

/She lifted her glass high, and the three of them drank.

Smiling, Ken’ichi watched them from the kitchen in the back./

---

さてと、食べるぞ～～！

よし、こっちのケーキ。 もらうわね！

ん～～、おっいしぃ～！！

ヤバイ、このイチゴの 凄く美味しいよ！

Ｌｅｔ’ｓ　ｅａｔ！

Ｉ’ｌｌ　ｔａｋｅ　ｔｈｉｓ　ｃａｋｅ！

Ｍｍｍｍ！　Ｉｔ’ｓ　ｓｏ　ｇｏｏｄ！

Ｗｏｗ，　ｔｈｅｓｅ　ｓｔａｗｂｅｒｒｉｅｓ ａｒｅ　ｓｃｒｕｍｐｔｉｏｕｓ！

[MIKA:] Okay, let’s eat!

I’ll take the one over here. Gimme!

Mmm, it’s sooo good!!

Oh no, these strawberries are too delicious!

---

はいはい、わかった。

アキラのも一口ちょうだいね。

Ｏｋ　ｏｋ，　Ｉ　ｃａｎ　ｈｅａｒ　ｙｏｕ．

Ａｋｉｒａ，　ｓａｙ　ｓｏｍｅｔｈｉｎｇ．

[AKIRA:] Okay, we get the idea.

[MIKA:] Gimme a bite of yours.

[note:]  一口 (”one” + “mouth”) can be a mouthful or a word. This conversation sounds a little like Mika’s trying to get him to praise the food by going way overboard, and I think the TL took it that way. But that “Akira no mo” means she’s talking about his cake, not saying, “You say something too!”]

---

うん！　おいしい～～！

ちょ、お前な～……。 いいかげんその性格直せよな。

Ｙｅｐ！　Ｄｅｌｉｃｉｏｕｓ！

Ｙｏｕ．．． Ｌｅａｒｎ　ｓｏｍｅ　ｍａｎｎｅｒｓ．

[MIKA:] Yep, it’s delicious!

[AKIRA:] Hey, have you ever thought about fixing your personality?

[note: lit. “You... fix that thoughtless personality.”]

---

何よ～、いいじゃない。 それに今さら直る物じゃないわ。

まったく、お前は小学校の時から ちっとも変わってないな。

Ｗｈａｔ！？　Ｉｔ’ｓ　ｔｏｏ　ｌａｔｅ　ｔｏ ｄｏ　ａｎｙｔｈｉｎｇ　ａｂｏｕｔ　ｉｔ．

Ｙｏｕ　ｈａｖｅｎ’ｔ　ｃｈａｎｇｅｄ　ａｔ　ａｌｌ ｓｉｎｃｅ　ｅｌｅｍｅｎｔａｒｙ　ｓｃｈｏｏｌ．

[MIKA:] What? Who cares? It’s too late to change at this point anyway.

[AKIRA:] Jeez. You haven’t changed at all since you were in grade school.

---

可愛らしいでしょ！

Ｃｕｔｅ，　ｒｉｇｈｔ？

[MIKA:] It’s cute, right?!

===

[note: BIG mix up here, as the lines for the choice are back in the Sweet Ring event file for chapter four, and the whole rest of this exchange is in one of the Scene files. Atsuki’s two options here looked to the TL like they came right after Ken’ichi talking about the store’s opening.]

{option 1:

>ああ、可愛いと思う 

>Ｉ　ｔｈｉｎｋ　ｉｔ’ｓ　ｃｏｚｙ．

>Yeah, I think it’s cute.

---

でしょでしょ。ふふん、 やっぱり西条君は分かってるわね。

Ｙｅｐ　ｙｅｐ！　Ｉ　ｋｎｅｗ　Ｓａｉｊｏ ｔｈｏｕｇｈｔ　ｓｏ．

[MIKA:] Right? Heh heh, I knew you’d get it, Saijou-kun.

---

へいへい、それは悪うございました。

それにしても、よくもそう 解釈出来るな……

Ｈｅｙ　ｈｅｙ，　ｔｈａｔ’ｓ　ｊｕｓｔ　ｅｖｉｌ．

Ｉ　ｇｕｅｓｓ　ｙｏｕ　ｃｏｕｌｄ　ｅｘｐｌａｉｎ ｉｔ　ａｓ　ｔｈａｔ．．．

[AKIRA:] Yeah, yeah, I’m sooo sorry.

Still, you’ve got some nerve explaining it like that...

[note: I’m pretty sure the first line is just a sarcastically formal version of “warukatta”, or “I’m sorry”.”  And へいへい is an agreement, not the English “Hey” it sounds like. So in these lines he’s going along with it now that Atsuki and Mika are teaming up on him, but he’s not happy about it.]

1}

===

{option 2:

>いや…直した方が良いと思う

>Ｉ　ｔｈｉｎｋ　ｙｏｕ　ｓｈｏｕｌｄ　ｒｅｄｏ　ｉｔ．

>No... I think you should fix it.

--

うそ～！！

もう～、男って本当に デリカシーが無いんだから。

デリカシー云々の問題じゃないと 思うんだけどな……

Ｔｈａｔ’ｓ　ａ　ｌｉｅ！

Ｇｅｅｚ！　Ｍｅｎ　ｒｅａｌｌｙ　ａｒｅ ａｌｌ　ｉｎｓｅｎｓｉｔｉｖｅ．

Ｉ　ｄｏｎ’ｔ　ｔｈｉｎｋ　ｉｔｓ　ａ　ｍａｔｔｅｒ ｏｆ　ｓｅｎｓｉｔｉｖｉｔｙ．．．

[MIKA:] No way!

Jeez, men really have no tact.

[AKIRA:] Yeah, I don’t think it’s a question of tact or anything like that...

2}

===

{Branches rejoin:

いいわよ、いいわよ。 私は幸せにケーキ食べてるから。

Ｆｉｎｅ，　Ｉ’ｌｌ　ｊｕｓｔ　ｓｉｔ　ｈｅｒｅ ｈａｐｐｉｌｙ　ｅａｔｉｎｇ　ｍｙ　ｃａｋｅ．

[MIKA:] Fine, whatever. I’m just gonna eat my pastries and be happy.

}

===

うんうん、このぷにゃっと したのも美味しいけど、何？

……ラ・フランスのコンポート。

Ｙｅｐ，　ｔｈｉｓ　ｓｏｆｔ，　ｆｌｕｆｆｙ　ｏｎｅ ｉｓ　ａｌｓｏ　ｄｅｌｉｃｉｏｕｓ．　Ｗｈａｔ？

．．．ｉｔ’ｓ　Ｆｒｅｎｃｈ　ｃｏｍｐｏｔｅ．

[MIKA:] Yup, this squooshy one is good too. What is it, though?

[AKIRA:] ...French compote.

[note: Literally “La France compote”.]

---

アキラ直ぐ分かるなんてさすがね。

ふん…。

Ｙｏｕ’ｒｅ　ｐｒｅｔｔｙ　ｑｕｉｃｋ．

Ｙｅａｈ．．．

[MIKA:] Wow, Akira. You knew right off the bat.

[AKIRA:] Hmph...

---

アキラは返答せず カップを口に運んでいた。

店が一段落着いたのか、 ケンイチがこちらに歩いてきた。

Ａｋｉｒａ　ｔａｋｅｓ　ａ　ｄｒｉｎｋ　ｆｒｏｍ ｈｉｓ　ｃｕｐ　ｗｉｔｈ　ｎｏ　ｒｅｐｌｙ．

Ｔｈｅ　ｒｅｓｔａｕｒａｎｔ　ｂｅｃａｍｅ　ｑｕｉｅｔ ａｎｄ　Ｋｅｎｉｃｈｉ　ｗａｌｋｓ　ｔｈｉｓ　ｗａｙ．

/Akira took a sip from his cup without answering.

The shop quieted down, and Ken’ichi walked over to them./

---

やあ、ミカちゃん。 食べてくれてるかな？

あっおじさん！ これ、コレ！　もの凄い美味しい！

Ｈｅｙ　Ｍｉｋａ．　 Ｅｎｊｏｙｉｎｇ　ｅｖｅｒｙｔｈｉｎｇ？

Ｏｈ，　Ｋｅｎｉｃｈｉ！ Ｔｈｉｓ　ｉｓ　ｆａｎｔａｓｔｉｃ！

[KEN’ICHI:] Hey, Mika-chan. Enjoying everything?

[MIKA:] Oh, Midou-san! This is so so good!

---

ラ・フランスのコンポータが う～ん～、最高です！

あははっ、ミカちゃんコンポータ じゃなく、コンポートだよ。

Ｔｈｅ　Ｆｒｅｎｃｈ　ｃｏｍｐｏｔｅｒ　ｉｓ ａｂｓｏｌｕｔｅｌｙ　ｆａｂｕｌｏｕｓ！

Ｈａｈａ！　Ｍｉｋａ，　ｉｔ’ｓ　”ｃｏｍｐｏｔｅ”， ｎｏｔ　”ｃｏｍｐｏｔｅｒ”．

[MIKA:] French compoter is, mmm! It’s the best!

[KEN’ICHI:] Ahaha. Mika-chan, it’s “compote”, not “compoter”.

[note: konpooto vs konpoota in Japanese; “compoter” works just fine.]

---

あはっ…あははっ… やっぱ受け売りはダメよね。

実は、教えてくれたのは アキラでして……

Ｈｅｈｅ．．．　Ｉ’ｍ　ｎｏｔ　ｇｏｏｄ　ａｔ ｒｅｍｅｍｂｅｒｉｎｇ　ｔｈｏｓｅ　ｔｈｉｎｇｓ．

Ａｋｉｒａ　ｊｕｓｔ　ｔａｕｇｈｔ　ｍｅ ｔｈａｔ．．．

[MIKA:] Aha... ahaha... I guess playing the expert never works.

Akira had to tell me that just now, actually...

[note: A repeat of the 受け売り phrase (repeating information second-hand) that we saw at Company F.]

---

Ｉ　ｓｅｅ．

Ｍｉｋａ，　ｙｏｕ’ｖｅ　ｂｅｃｏｍｅ　 ｑｕｉｔｅ　ａ　ｂｅａｕｔｙ．

ふ～ん

ところでミカちゃん、 本当にキレイになったね。

[KEN’ICHI:] Hm.

By the way, Mika-chan. You’ve really gotten pretty.

[note: atsuki by this point in this 50 year scene:]

---

そうだよな、ちょうど１年ぐらい 会ってないんだったっけ？

今日見た時は、ほんと別人かと 思って驚いたよ。

Ｉｔ’ｓ　ｂｅｅｎ　ａｂｏｕｔ　ａ　ｙｅａｒ ｓｉｎｃｅ　ｗｅ　ｌａｓｔ　ｍｅｔ，　ｒｉｇｈｔ？

Ｉ　ｄｉｄｎ’ｔ　ｅｖｅｎ　ｒｅｃｏｇｎｉｚｅ　ｙｏｕ ｗｈｅｎ　ｙｏｕ　ｃａｍｅ　ｉｎ　ｔｏｄａｙ．

[KEN’ICHI:] That’s right, I haven’t seen you for about a year, have I?

When I saw you today, I thought you were someone else.

---

またもっと昔みたいに、 たびたび店に来ておくれよ。

ふん……

Ｉ　ｗｉｓｈ　ｙｏｕ　ｃａｍｅ　ｂｙ　ｍｏｒｅ ｏｆｔｅｎ，　ｌｉｋｅ　ｔｈｅ　ｏｌｄ　ｄａｙｓ．

Ｈｍ．．．

[KEN’ICHI:] You should come by the store more often, like the old days.

[AKIRA:] Hmph...

---

…あ、あ、はい……

あ、なあ西条君だったよね？ 君もいつでも来てくれ。

Ｕｈ．．．ｏｋ．．．

Ｙｏｕ’ｒｅ　Ｓａｉｊｏ，　ｃｏｒｒｅｃｔ？ Ｃｏｍｅ　ｂｙ　ａｎｙｔｉｍｅ，　ｏｋ？

[MIKA:] Oh, uh... sure...

[KEN’ICHI:] Oh, and you were Saijou-kun, right? You can come by anytime, too.

---

ミカちゃんの友達に悪い子は 居ないからね。

……俺、そろそろ帰る。

Ｉ　ｋｎｏｗ　Ｍｉｋａ　ｄｏｅｓｎ’ｔ　ｈａｖｅ ａｎｙ　ｂａｄ　ｆｒｉｅｎｄｓ．

．．．Ｉ’ｖｅ　ｇｏｔｔａ　ｇｏ．

[KEN’ICHI:] I know Mika-chan isn’t friends with any bad apples.

[AKIRA:] ...I gotta go.

---

あっ、なに言ってるのアキラ！？

ちょっと、宇波との用事を 思い出したんだよ。

Ｗｈａｔ！？

Ｉ　ｊｕｓｔ　ｒｅｍｅｍｂｅｒｅｄ．　Ｉ　ｈａｖｅ ｔｏ　ｇｏ　ｍｅｅｔ　Ｒｙｏ．

[MIKA:]  Akira, what are you talking about?!

[AKIRA:] I just remembered, I have to go meet Unami.

---

ああ、お前なんて帰っていいよ。

お、おじさん！

Ｇｏ　ａｈｅａｄ，　ｇｅｔ　ｏｕｔ　ｏｆ　ｈｅｒｅ．

Ｍｒ．　Ｍｉｄｏ！

[KEN’ICHI:] Sure. It’s better if you do leave.

[MIKA:] M-Midou-san!

---

お前はなんでそんなに愛想が 悪いんだ！

本来なら息子のお前が 祝ってくれてもおかしくない。

Ｗｈｙ　ｄｏｎ’ｔ　ｙｏｕ　ｈａｖｅ ａｎｙ　ｃｏｍｍｏｎ　ｃｏｕｒｔｅｓｙ？

Ｃａｎ’ｔ　ｙｏｕ　ｅｖｅｎ　ｃｏｎｇｒａｔｕｌａｔｅ ｙｏｕｒ　ｏｗｎ　ｆａｔｈｅｒ？

[KEN’ICHI:] Why can’t you show the most basic courtesy?!

You are supposed to be my son, after all. Is a little celebration too much to ask for?

---

それをしないで、ミカちゃんが 代わって祝ってくれてるんだ

俺はその優しさに、 感謝してるんだぞ！

Ｙｏｕ’ｒｅ　ｌｅａｖｉｎｇ，　ｂｕｔ　Ｍｉｋａ’ｓ ｓｔｉｌｌ　ｈｅｒｅ．

Ｉ’ｍ　ｔｈａｎｋｆｕｌ　ｆｏｒ　ｈｅｒ ｋｉｎｄｅｓｓ！

[KEN’ICHI:] You can’t even manage that. Mika-chan’s the one doing it for you.

I’m grateful she’s so kind!

---

なのになぜお前は、 ぶち壊そうとするんだ！！

うるせえんだよ！！

Ｂｕｔ　ｙｏｕ，　ｙｏｕ　ｊｕｓｔ　ｗａｎｔ　ｔｏ ｒｕｉｎ　ｅｖｅｒｙｔｈｉｎｇ！！

Ｓｈｕｔ　ｕｐ！！

[KEN’ICHI:] You, on the other hand. You’re ruining the whole thing!!

[AKIRA:] Shut the hell up!!

---

店内の空気が凍った。

それまで楽しく お茶をしていたお客達は、

一斉にアツキたちの座る テーブルを見つめた。

Ｉｔ’ｓ　ｖｅｒｙ　ｔｅｎｓｅ．

Ｔｈｅｒｅ　ａｒｅ　ｓｏｍｅ　ｃｕｓｔｏｍｅｒｓ ｅｎｊｏｙｉｎｇ　ｔｈｅｉｒ　ｄｒｉｎｋｓ．

Ｔｈｅｙ　ａｌｌ　ｌｏｏｋ　ａｔ　Ａｔｓｕｋｉ’ｓ　 ｔａｂｌｅ　ｓｉｍｕｌｔａｎｅｏｕｓｌｙ．

/The mood inside the shop seemed to freeze over.

Some customers who had been having a good time with their tea...

...turned simultaneously to the table where Atsuki and the others were sitting./

---

ちょっ……！

ちょっとアキラ止めて！ 今日は開店祝いなのよ！

Ｗｈ．．．．！

Ａｋｉｒａ，　ｓｔｏｐ！ Ｗｅ’ｒｅ　ｈａｖｉｎｇ　ａ　ｐａｒｔｙ！

[MIKA:] Hey...!

Come on, Akira, stop it! We’re supposed to be celebrating today!

---

黙れ！

もともとミカが今日来いって 言ったんだろう！？

Ｓａｖｅ　ｉｔ！

Ｙｏｕ’ｒｅ　ｔｈｅ　ｏｎｅ　ｗｈｏ　ｓａｉｄ　ｙｏｕ ｗａｎｔｅｄ　ｔｏ　ｃｏｍｅ　ｈｅｒｅ，　ｒｉｇｈｔ？

[AKIRA:] Oh, shut up!

Aren’t you the one who said I should come today?!

---

俺は来る気は一切なかったんだよ！

そ、そんな、私はただ…

Ｉ　ｎｅｖｅｒ　ｗａｎｔｅｄ　ｔｏ　ｃｏｍｅ！

Ｉ．．．Ｉ　ｊｕｓｔ　ｗａｎｔｅｄ　ｔｏ．．．

[AKIRA:] I didn’t want to be here at all!

[MIKA:] I-I... I just...

---

２人に昔みたいに仲良くなって ほしくて……

うっ……ううっ…ぐすっ……

Ｉ　ｊｕｓｔ　ｗａｎｔｅｄ　ｕｓ　ｔｏ　ｂｅ　ｌｉｋｅ ｗｅ　ｕｓｅｄ　ｔｏ．．．

＊ｓｎｉｆｆ．．．ｓｎｉｆｆ．．．ｓｏｂ＊

[MIKA:] I just wanted you two to get along like you used to...

Ooh... *sniffle*

---

アキラ！ お前、何て事いうんだ！

あっ、ミカちゃん、 こんなヤツの事は気にしなくて良い。

Ａｋｉｒａ！ Ｗｈａｔ　ｄｉｄ　ｙｏｕ　ｓａｙ！？

Ｍｉｋａ，　ｄｏｎ’ｔ　ｌｉｓｔｅｎ　ｔｏ　ｔｈｉｓ ｐｕｎｋ　ｋｉｄ．

[KEN’ICHI:] Akira! How dare you?

Mika-chan, don’t you listen to what he has to say.

---

いまからこの腐った性根の男を、 ぶっ飛ばしてやるから！

へ～、やれるもんなら やってみろよ。

Ｉ’ｍ　ｔｈｒｏｗｉｎｇ　ｈｉｓ　ｒｏｔｔｅｎ　 ｐｅｒｓｏｎａｌｉｔｙ　ｏｕｔ　ｏｆ　ｈｅｒｅ！

Ｔｒｙ　ｍｅ． Ｉ　ｗｏｎ’ｔ　ｔａｋｅ　ｉｔ　ｅａｓｙ　ｏｎ　ｙｏｕ

[KEN’ICHI:] I’m about to throw this rotten little punk right out of here!

[AKIRA:] Yeah? Go ahead and try.

---

親父だからって、手加減しねえよ。

ああ、上等だ、かかってこい！！

ｊｕｓｔ　ｂｅｃａｕｓｅ　ｙｏｕ’ｒｅ　ｍｙ　ｄａｄ．

Ｐｅｒｆｅｃｔ！　Ｂｒｉｎｇ　ｉｔ　ｏｎ！！

[AKIRA:] I’m not holding back just because you’re my dad.

[KEN’ICHI:] Fine by me. Bring it on!!

[fuanteinasekai]

Thnx 4 your reply, & I too wondered about that Natsume/Taki moment, Sensei might've tried to give it a spin. But remember this quote? "I feel like I'm chasing characters around with a sketchbook & megaphone" (1st vol) She follows their natural course. She also made sure to show Taki/Tanuma/Smol Natsume act similarly to Taki/Natsume/Kai & tied the stories, Taki: "yes! thats the field we made flower crowns" but Natsume didnt remember her or that moment. Tanuma/Natsume tho? *waves at your meta #1

Hi! I love this ask!!

First, it actually hadn’t occurred to me that the Kai story was chosen as a reference specifically because of the “faux parents” comparison. I assumed it was just because it was the only location besides Taki’s house we had any reference for. But we’ve never actually seen Tanuma fishing, and that was one of his memories, so there’s no reason Midorikawa-sensei couldn’t have made up something similar with Taki. In retrospect, it does seem a little much to be coincidental.

On the one hand it’s slightly worrisome, since Tanuma and Taki have basically negative romantic chemistry in this story, whereas Natsume/Taki was at least plausible. So it could be read as supporting Natsume/Taki through contrast. On the other hand, I’m not sure how you would reconcile that reading with the rest of the story. There’s so much implied intimacy between Tanuma and Natsume, and the cleaning cupboard is an incredibly domestic choice of location for Natsume to recognize. Like, you pretty much have to be a very close friend to be involved in the household on that level, haha. I’m still not ruling out Taki as wife—heteronormativity is a powerful force, and I’m wary of letting my guard down. But yeah.

Second, I love that you bring up her writing style, ‘cause I was literally in the middle of writing about it. I hadn’t actually read that particular author’s note yet, but it’s exactly the impression I got from reading between the lines of her other notes:

描きかた

「こういうシーンのあるこういう流れの話を描きたい」と思って、それに合う子をそこに放り込んで動いてもらう。メガホン片手に追っかけていってスケッチする、という感覚で描いている気がします。特に学生さんのお話は。

そこは右だー、左だーと指示を出しながら追っかけていって、セリフや動きは任せる感じです。なのでネーム中はかなり疲れますが、とても楽しいものでもあるのです。

“The Way I Draw”

“When I think ‘I want to draw a story with this kind of scene and this kind of flow,’ I pick a kid who fits, throw them in and put them to work. I feel like I’m drawing intuitively, as if I were trailing after them with a megaphone in one hand, sketching. Especially in stories about students.”

“I feel like I’m trailing after them while directing, ‘That goes to the riiight, that goes to the leeeft,’ but leave the dialog and labor to them. Because of this, I find the preliminary work exhausting, but really fun.”

This is pretty much exactly what I was getting at with the “Taki test” thing, just reversed. My theory with the Kai story was that she chose a setting and environment where Taki could break through romantically, then dropped her in to see what would happen. So rather than picking a character for the environment, she picked a specific environment in order to give a character an opportunity to evolve in a specific way—and then let it go when that evolution didn’t happen. That’s my theory, anyway.

This is the bit I was already working on:

Midorikawa-Sensei did not originally intend this series to have any sort of character or relationship development or emotional arc. At all.

If you read her early author’s notes, she’s fairly up front of about this. I get the impression she’s basically a folklore nerd who wanted to write stories about yōkai. So she cloned one of her male protagonists, gave him the Book of Friends to justify all his yōkai encounters, and slapped him into a shoujo manga. It was supposed to be a series of independent yōkai stories bound by a single character, much like Mushishi but with a different tone and more strongly centered on existing Japanese folklore. She flat out says this in the author’s notes for the first chapter:

可能なら読切シリーズとして描きたいと本心を担当様にお話しして描いた作品です。

“This is a work I drew while telling [the editor] that I truly wanted, if possible, to draw it as a series of stand-alones.”

*pauses to laugh hysterically*

Shigeru-san was supposed to be “like Columbo’s wife,” always alluded to and never seen. Reiko was just a device to set up the Book of Friends, not a real character. Tanuma was supposed to click with Natsume instantly, without any angst, presumably so that Natsume would have someone to explain things to. If you compare the first twenty chapters to those that followed, you can see how recurring characters used to be mostly in the background, and yōkai dominated heavily. Natori stories were disproportionately common because he (as an exorcist) was part of world-building, and because it was easy to write him and yōkai at the same time. Now these yokai-dominant stories are the exception, rather than the rule. These are all still yōkai stories, of course, but now the yōkai largely serve as vehicles for the stories and emotions of humans.

Unfortunately for Midorikawa-sensei, she’s clearly the type of writer who lets her instincts play a role in her writing. This is visible even without her direct admission. So when characters started acting in unexpected ways, she let them. And now, despite having originally planned absolutely no plot arc at all, she has at least two major ongoing plot threads: the question of Natsume’s grandfather and how it ties to the Book of Friends (possibly separable from “how to return all the names”), and The Thing with Tanuma. 

One of the interesting conclusions we can draw from this is that character-centric stories she’s “wanted to draw for a long time” are not stories she has always wanted to draw. If Reiko was originally just a plot device, then Souko must have been invented later, probably in response to some sort of plot development. *cough*Tanuma-related*cough* To a lesser extent, it’s unlikely that Ito-san was planned from the start, either. Unlike a series that was planned out and structured from the start, we can’t assume that foreshadowing or a particular theme started early. We have to be really careful about what kind of assumptions we make, and about how old our sources are. 

To me that actually makes all this more fun—trying to figure when something changed, when she gave in to a particular theme, and so on. I do think she’s been leaning into the choices her characters have made, but she’s not necessarily up front about when that started, or exactly what that means. It’s an extra challenge.

[maki0725]

Klavquill 1-1

I like Klavquill so much but I could not find so many fics in Japanese, so I started seaching English fics on AO3. Then I could read many great stories I'm really happy. I used to write fan fics but I don't have enough energy just now, I'd like to post some ideas. I'm not good at English but @jake-marshall encouraged me, thank you!

I post an idea for now, as it is quite Japanese style Christmas is not a holiday and they eat Japanese foods.

 12月24日夕方

検事局・警察局内限定慰安ランチタイムミニライブを明日に控えて夜まで準備する牙琉検事

クリスマスイブでも無関係に残業の検事たちのために局長が出前を取ってくれることになり、メニュー片手に牙琉検事の執務室に来るユガミ検事、ノックしても返事がないからドアを開けると牙琉検事がギターにもたれて寝てる(周りは楽譜だらけ)

肩を揺すって起こして、メニューを選ぶように言うユガミ

「ピザがいい…」

「無理だ、4時間かかるとよ」

「4時間後もいるからいいよ…」

「ふざけんな俺ァ腹減ってンだ、そばかうどんにしろ」

適当に選ばせながらギターを放さない牙琉に、どうせ身内しか聞かないんだからそんなに根を詰めなくても良いだろうと言ったら前のバンド仲間も来るから手抜きしたくないという牙琉

「ならそいつらに手伝わせろ」

「無理だよ、ダイアンじゃなきゃ…」

何とも言えなくて、半分寝てる牙琉検事を置いて出て行くユガミ

注文して、30分くらいかかることをコーヒー片手に牙琉検事に伝えに行くと牙琉はさっきよりは目が覚めた様子

「コーヒー買ってきてくれたの？そうだ、明日のお礼にってクッキーもらったんだよ、食べてく？」

お腹すいてるし遠慮なくつまむユガミ、いかにもクリスマスらしいデコレーションクッキーをしげしげと眺めて、こんなんガキの頃以来だなって言うと牙琉検事にキミにもそんな頃あったんだねって言われる

「そうだ、ご飯届くまで30分だっけ？明日のリハーサルするから、聞いててくれない？食べながらでいいから」

うるせェのは御免だぞって言いつつ、ジングルベルとか赤鼻のトナカイとか誰でも知ってるようなクリスマスソングと、なんとなく聞いたことがあるような賛美歌を聴きながら子供の頃のことなんかを思い出すユガミ

翌日、ユガミは忙しいしそもそも聴きに行くつもりもなかったから昼も部屋で仕事してるんだけど盛り上がってるらしいことは聞こえてくる

時間を外して昼食に行こうとしたら、局内でミニスカサンタ服のみぬきちゃんとココネちゃんに会って、本気で意味が分からずに「…何してンだ」て聞いたら「ガリュー検事が特別に呼んでくれたんです！いつもの格好だと目立つから、目立たないようにして来てって」

どこが目立たねェんだよ、て思いながら「幼稚園みてェな曲で��く盛り上がれんな」て言ったら「え？ガリューウエーブのクリスマスソングと��、ラストクリスマスとか歌ってくれましたよ？スペシャルアレンジで！」て言われて、昨日の「リハーサル」は自分のためにわざわざやってくれたんだって気づくユガミ

On the evening of the 24th December

Klavier was preparing for a concert exclusive for the prosecutor’s office and the police department on lunch break tomorrow.

Chief Edgeworth would order something to eat for busy prosecutors despite Christmas Eve, when Simon came to Klavier’s office for taking an order he found Klavier asleep on his guitar scattering musical scores around him.

“Wake up, choose your order”

“Umm...pizza...”

“No it takes 4 hours”

“No problem I have to stay here at least for 4 hours...”

“Bullshit I’m hungry, you must choose soba or udon”

Klavier chose his order half asleep but never took his hands off the guitar. Simon told him to cut corners as it would be amongst themselves but he said that his former bandmates would come and he couldn’t disappoint them.

“Then let them help you”

“It’s impossible except for Daryan”

Simon could say nothing and left the room.

He came back to Klavier’s office with 2 cups of coffee to notice that their foods would be delivered in 30 minutes.

Klavier looked more awake and thanked him for coffee, offered him cookies given for the gratitude of the concert.

Simon accepted them as he was hungry, picking up a Christmas-decorated cookie said that he would take it for the first time since his childhood.

Klavier looked surprised and said “You have a childhood”, then he asked Simon for hearing his rehearsal for tomorrow till the foods would be delivered.

Klavier played and sang famous childish Christmas songs and carols even Simon knew, Simon ate cookies remembering when he was a kid.

At the lunchtime of the next day, Simon wasn’t at the concert but could hear the excitement. He went out his room for late lunch, he saw Athena and Trucy dressed as Santa Claus(miniskirted) in the hallway of the prosecutor’s office.

“What are you doing?”

Simon could understand nothing, they explained Klavier had invited them secretly and told them to come inconspicuously. Simon wondered why they had chosen such costumes not to stand out and said how dare they get excited by songs like for kindergarteners but Trucy told him that Klavier had played Gavinners’s Christmas songs and popular songs like “Last Christmas” by Wham.

Then Simon realized that yesterday’s “rehearsal” was only for him.

[jokertrap-ran]

Initial 5★ Roie Translation

第６話 ロイエの気持ち Chapter 6: Roie’s Feelings

CV: 三木眞一郎 (Miki Shinichiro)

*Spoiler free: Translations will remain under cut *Name will remain as my normal ( ラン )

石板に、光を帯びた文字が絶え間なく刻まれていく…－。 Characters bathed in light continued carving itself out…-

私は部屋の隅で、ロイエさんの仕事の様子を見学させてもらっていた。 I observed Roie-san working from the corner of the room I had taken up.

ロイエ「クレアブールの歴史を20年分出してくれ」 Roie: Pass me 20 years’ worth of Claire Boulle’s history.

事務官「何か気になることでも？」 Administrative Official: Is there something that peaked your interest on that matter?

ロイエ「ああ、少し。後でルグランジュにも連絡を…－」 Roie: Yes, a little. Contact Legrandge afterwards…-

そんなやり取りの最中も、部屋中の石板に光が走り続けていた。 The light had continued running through the surface of the slate even as the conversation took place.

（魔法と科学が混ざり合ったような……何て言うのが正しいんだろう） (It kind of looks like its science and magic mixed together…I don’t know which ones right anymore.)

高揚する気持ちのままにそれらを眺めていると、トルゲさんが傍に立ち説明を始めてくれた。 Torge-san stood beside me and started explaining as I looked up at it in exhilaration.

トルゲ「この文字は、我々だけが使っている特別な文字なんです。　ここに集められている情報はどれもとても重要なものなので。　万が一にも漏洩した場合に、読まれないようになっているんです」 Torge: Those characters are unique only to us. All the information stored here are all extremely important you see. So it’s been designed in a way that makes it unable to be read even if there’s an information leak.

ラン「そういうことなんですね」 Ran: So that’s what it was!

ロイエ「……」 Roie: ……

（あ……） (Ah…)

ロイエさんの視線が、私達の方に時折ちらちらと向けられる。 Roie-san’s gaze flickered over to us every once in a while.

（やっぱり、働いているところに女性がいるのが不愉快なのかな……？） (I wonder if it’s unpleasant for him to be working in a place where there are females around after all…?)

不安に思いながら、ロイエさんを見ると…－。 While thinking about it anxiously, I looked over at Roie-san…-

（えっ……） (Huh…?)

視線が絡んだ瞬間、ロイエさんがふわりと優しく微笑んだ。 He gave a soft smile the moment our eyes met.

それは今までに見た、彼のどの表情とも違っていて…… The expression he had on his face was different from any other I’ve seen before…

ロイエ「ラン、そろそろ僕は休憩を取るよ。君も一緒にどうだい？」 Roie: I’m about to take a break soon, Ran. How about you join me?

予想もしていなかった誘いまで受けて、胸の高鳴りがおさまらない。 My heart raced upon receiving an invitation I never thought I’d get.

ラン「でも、お忙しいんじゃ……」 Ran: Aren’t you busy though…?

ロイエ「休憩をとらないと、かえって能率が悪くなる。　トルゲ、ランの案内を代わってもらうが、いいか？」 Roie: One will lose efficiency if they don’t take breaks every once in a while. Torge, I’ll take her out of your hands now, okay?

トルゲ「……」 Torge: ……

ロイエさんが問うと、トルゲさんが一瞬だけ何とも言えない表情をする。 Torge-san had on an indescribable look for a moment when Roie-san directed the question to him.

けれど、すぐにいつもの表情に戻って…… However, his expression quickly returned to what it had been before…

トルゲ「はい、もちろんです。また休憩が終わりましたら、私が他を案内いたしますのでお呼びください」 Torge: Yes, of course. Please call me once your break’s over and I’ll guide her to other places.

トルゲさんは私に、にこりと微笑みかけて立ち去った。 Then he left with a smile.

ロイエ「さて、行こうか。軽く食事でも？」 Roie: Let’s go then. How about a light meal?

ラン「はい」 Ran: Okay.

（女性は嫌いだって言ってたけど、嫌われてはないのかな……？） (He did say that he hated females but doesn’t he hate me…?)

不安に思い、どうにもぎこちなくなってしまっていると、ロイエさんが真剣な様子で考え込んだ。 Unease filled my thoughts and things were starting to get awkward until he turned to me with a look of utter seriousness.

ロイエ「君の視線、表情、声色。どうやら僕は、君を怯えさせてしまっているようだけど、なぜだろうか」 Roie: Your gaze, expressions, voice. It seems like I’ve somehow frightened you, why is that so?

ラン「ただ……本当に、私が一緒でいいのかと思ってしまって」 Ran: I just…wondered if it was really okay for you to be with me?

思ったままを口にすると、ロイエさんは一時首を傾げて、それからすぐにまた、柔らかに微笑んでくれた。 He tilted his head to the side when I accidentally said my thoughts out loud before a soft smile twitched upon his features.

ロイエ「構わない。逆に僕の休憩に君が付き合ってくれている状態、というのが正しい見解だろう」 Roie: I don’t mind. On the contrary, I should be asking you that since you are accompanying me on my break.

ラン「ロイエさんがそう言ってくださるなら、嬉しいです」 Ran: I’m happy to hear you say that.

ロイエ「嬉しい？」 Roie: You’re happy?

ラン「はい、できれば一緒に過ごしたいと思っていましたから」 Ran: Yes, I want to spend time together with you if it’s possible.

ロイエ「っ……」 Roie: Hm…

素直な気持ちを伝えると、ロイエさんはしばし目を泳がせる。 He avoided my gaze as I told him what I really felt.

それがどこか、可愛らしく感じられたのだった…－。 I felt an underlying sweetness somewhere in there…-

To be continued...