#which is normal sentence structure in japanese

[brookstolemybrand]

Apparently people are arguing about this line on Twitter:

なァ!!

エルバフはお前の事いらなそうだし!!

おれにとっちゃ面白ェし!!

何かあったらブッ飛ばすし!!

The problem with this line is that the last part is really vague.

An overly literal translation would be like this;

Hey!! It seems that Elbaph doesn't need/want you!! And to me you're amusing/interesting!! And if something happens (if something goes wrong), I'll beat up [someone]"

So that last sentence is missing the target of the beating. This is a normal thing Japanese does, because it's such a highly context dependent language

Generally speaking when the object is left out in Japanese, it's a previously mentioned person or someone who is obvious from context. In this case, structurally, it would make sense to assume that the object is "you", because no one else has been mentioned (unless you count Elbaph I suppose)

But the problem is that this is phrased as a list of reasons, using the し (shi) particle. So this is phrased as Luffy trying to convince Loki to join his crew and listing all the pros.

Maybe Luffy really does think that Loki would find "I'm gonna beat you up!!!" a compelling argument, he is kind of a goofy guy, maybe that's the joke

But it IS a fucking bizarre thing to say

Also it could also refer to everybody else who's present too, it could be "if you agree to join my crew then I'll beat up anyone who tries to stop you from joining" or something like that

Or it could even mean both things at the same time, who the hell knows, maybe Luffy is just declaring he's gonna beat up anyone who causes trouble in this arrangement

Viz translates it like this:

Stephen clearly assumed that this is supposed to be a straightforward argument presented to Loki, which makes sense and is the most neutral interpretation in my opinion

TCB translated it like this:

TCB for some reason ignores the "you" in the first sentence and aims the line at Hajrudin, I guess? Or just everyone in general??

Luffy saying he'll beat up Loki if he tries anything does make more sense from this angle but it is also just an incorrect translation either way, since he clearly addresses Loki

In both cases you can tell the translators were really trying to make sense of it, since the original is so vague. It doesn't help that it's just "if something happens", which can be translated as "if something goes wrong", but it doesn't actually specify what would go wrong and for whom, which makes it really hard to tell what he means

You could also argue that maybe the first argument is aimed at Loki but the rest is aimed at Hajrudin? I guess? Or maybe the point is that the first argument is for Loki, the second one is for Zoro and Sanji, and the third one is for Hajrudin?

(This analysis is really getting complicated now...)

But the point is, the official translation is not wrong, but it might also not be what Oda intended, and I for one can't tell what Oda intended

I mean, I'm not an expert in Japanese, and maybe there is some piece of context that I'm missing that would clarify it beyond any doubt, but as far as I know, this line could be interpreted both ways

I would like to warn against uncritically trusting people who very confidently say that they know what it means without giving any arguments or explanations, because I saw someone on Twitter who just kept saying "this is **incorrect**" without explaining their reasoning at all

[ayumicchi14]

Hoo boy...

"So yeah, she did it, she kissed your husbando. But, he didn't say "I love you" to her, so you still have a chance, don't be mad."

You know what? You really pissed me off there with this line. Really, REALLY make me mad for real. This is mockery at its finest.

"No offense but language is grammar, don't try to translate separate words and just connect them however you wish."

"Trying to use あの別れ and キスのとき as separate entities is like... I don't even know what to say... How?? Why?? Grammar isn't Lego."

YES, GRAMMAR. Well... here's the thing:

Japanese grammar is kind of like a Lego. In my eyes at least. Japanese grammars are located in particles (は、が、へ、に、で、の、を), sentence structure, conjugations. At least these three are the main. So, don't treat Japanese grammar like English. It's different.

And, since you seems didn't notice why, I'll break it down. Simplified, why raintranslated feel this exact sentence:

「あの別れのキスのとき」

Is ambiguous, and why I validate it.

Here's why:

There are two, literally TWO of 「の」 particles in one sentence. First in the middle, and second one at the end of the sentence. These two 「の」 particles are what makes the sentence ambiguous.

Why?

Because these two 「の」 particles are a "belonging/possession" particles. It connected two words.

The first one, which is in the middle, connected the words 別れ and キス, and then BOOM... it becomes 「別れのキス」 which means; "Farewell kiss"

Then the second one, at the end of the sentence. It connected the words キス and とき, and then BOOM... it becomes 「キスのとき」 which means; "When we kissed."

See? Simple, problem solved, case closed (lol)

Okay, let's take a deep breath first before we continue.

Again, like I said before, these two 「の」 particles are the "problem". Because it raises a questions:

1. Did the キス connected to とき？

Or

2. Did the キス connected to 別れ？

Because here's the thing:

First of all, let's take a look at the sentence itself:

「あの別れのキスのとき」

If we omitted the first 「の」 particle in 「別れのキス」, the word 別れ will attached to あの and become 「あの別れ」 which means "That farewell". Literally or metaphorically.

Then the word キス will automatically attached to the word とき since there's a second 「の」 particle there, and become 「キスのとき」 which means "When we kissed". Clearly talking about the kiss that Kallen and Lelouch shared.

See? Two separate words but precise in its own words meaning.

But, if we omitted the first 「の」 particle, it will become 「あの別れキスのとき」 which is GRAMMATICALLY incorrect. So it can't be like that.

Then, let's take a look at the second 「の」 particle at the end of sentence. If we omitted the 「の」 particle here, the word キス will automatically attached to 別れ because, again, there's 「の」 particle there and it become 「あの別れのキス」 and とき will become it's own separate word because it didn't connected to any sentence.

So, is it become 「あの別れのキスとき」 ？ No of course. Because it's GRAMMATICALLY incorrect.

Then, what should we do to connect とき with the rest of sentence? By using a particle. However, unlike the first 「の」 particle in 「別れのキス」, the second 「の」 particle at the end of sentence is REPLACEABLE. You can either keep using 「の」 or replace it with 「する」 or 「をする」

Because...

The word キス is a NOUN that always followed by the verb する. Which is why, normally, when you want to talk about "Kissing", Japanese native would always said 「キスする」 or 「キスをする」

And that's why, I gave that argument. I gave that alternative sentence. To give an example, if SUNRISE want to make the sentence clear, talking about "Kissing", then normally it will become 「あの別れのキスしたとき」 or 「あの別れのキスをしていたとき」

Heck, look back again at this sentence:

「あの別れのキスのとき」

Even if you omitted the 別れ and の, and just attached あの to the latter, it will become 「あのキスのとき」 which means "When we kissed at that time" or "When we have that kiss". It still GRAMMATICALLY correct, and it's much more clear because it's really talking about the kissing.

And then, if we do the same thing by omitted the キス and の, and just attached とき to 別れ, it becomes 「あの別れのとき」 which means "When we parted at that time". It will still GRAMMATICALLY correct, and again it's much more clear of what it means.

So, does that means 「あの別れのキスのとき」 is grammatically wrong?

OF COURSE NOT.

It's grammatically correct, but have a different nuance.

Because... Japanese language is known to be ambiguous, but also logical.

So, UNLESS, again, I repeat, UNLESS it was intended to be ambiguous, Japanese sentence would precise in it's meaning. 1 + 1 = 2. That's it.

And thus, the conclusion is... SUNRISE as the "word of god" was clearly making this sentence:

「あの別れのキスのとき」

To be ambiguous. It has double meaning. It can be the "farewell kiss" or it can be just the "farewell", like literally and metaphorically, or maybe it can be the whole situation. Who knows? It's up to people interpretation.

If you want to interpret it as "farewell kiss" then sure, go ahead. But that doesn't mean people (who understand Japanese) that interpreted in another way are wrong. Because again, the sentence has double meaning.

AND, the point that I want to make is... since Japanese language is known to be ambiguous, so a translator SHOULD be careful when translating a text. A translator should considering the context behind a text, and a possibility of double meaning, so that the translation won't be lost in translation and the meaning can be conveyed in a truest way.

THAT IS THE JOB OF A TRANSLATOR.

Because, translating something and MAKE IT LOST IN TRANSLATION is the last thing that every translator wanted to do.

Anyway, just an addition. Since you're so fixated on 別れ being an adjective, let me give a clarification that 別れ actually is a NOUN. And please mind you that even if you attached の with 別れ, it's just a nominal particles which didn't change the meaning at all.

Here's what the dictionary explains:

From the very first time I made that reblog I was never debating for the sake of “shipping.” I was analyzing language, as respectfully and logically as possible, you're the one who came by saying "Don't dismissed it as shipping wars" and ended the sentence with that "So yeah, she kissed your husbando, don't be mad" thing. That is so unnecessary. Truly unnecessary.

So yeah, congrats of making me mad for real.

This would be my final arguments, if you're still being stubborn, then we just have to agree to disagree.

Thank you.

Code Geass Complete Best Regret Message // Nunnally & Kallen // Canon

The Complete Best Regret messages, also known as character poems, are message left from various characters to Lelouch, after his death through Zero Requiem. Those are available within the Complete Best OST Which gathers some of the best OST of the show.

They offer us a nice last view of their thoughts and feelings directed to Lelouch, after his tragic end. Each of the letter are written and illustrated with a rough sketch of the character in their predominant color, and the first page of the booklet is a very nice sketch of Lelouch.

Each of the message have a title taken after a Code Geass opening or ending, Let's start with Nunnally.

Nunnally Lamperouge / vi Britannia - Mozaiku Kakera (Mosaic Shards) // Ending 2

I have been thinking about the many things that you have given me.

They can’t be counted on my fingers, for each and every one that I count, a stone is left. Lining them up, the stones can be pieced together into a mosaic. But, I will not do that. I don’t want to. (1) I will continue to count them piece by piece, always remembering their shape, their color and their touch. (2)

Even these dreams, that kindness, our rendezvous, those lies, mistakes…. Even that voice, the warmth in those hands that grasped mine, even the loneliness, the twistedness, the pain in my chest. Even that silence. Even those eyes.

Everything, I will hold dear.

Even if you had not given me many things, I could not give you anything in return. You gave me everything and you ended up leaving.

In those happy days, we did not even say “Thank you” nor “I’m sorry” between us. Those words would only invoke sadness. Your heart would grow far away. Just like that, you were myself, and I was you.

However, that day, the words you have told me still remains in my ears. You didn’t even let me reply. That’s why, while hearing your voice ringing in my ear, I will answer you from the bottom of my heart.

I love you too. (3)

(1) Lit.: I do not want to bring them (stones) together. (2) Lit.: One by one, I will continue to count them; their shape, color, and touch, I will continue to feel throughout. (1) Broken up into two sentences in the original Japanese: Aishiteru. Anata wo. (I love. You.) Translation by Blottyparchment.

Kallen Kozuki / Stadtfeld - Yuukyou Seishunka (Extolling the Brave Chivalry of Youth) // Ending 1

Until I met you, I was only merely plastered with thorns. I wanted to change this truth. I seethingly and recklessly acted. But then, I didn’t believe that anything would come out of it.

When my brother was gone, I heard the sound of the heavy doors closing behind me. I cannot allow it. I will fight to the bitter end. I decided that I would not go back. Then, someday, I would have died like my brother.

Until the very end, Kouzuki Kallen would not abide by authority. That bit of willpower I was carrying with me, it slipped away from me, and I can feel it faintly. At that moment, I envisioned you as the star at the break of dawn, inviting me.

If I would think that this is for you, my body would feel light. Whatever struggles there were, the pain would go away. I would be the first to come rushing to your battlefield, raging like a lioness, crushing your enemies. I would stand being muddied so that I could create a path for you.

Looking back, it’s mysterious. Even though I should have loathed and rebelled against Britannia’s tyranny. Without knowing it, I held personal devotion only for you.

Lelouch, that parting kiss, even if it was a lie, if you had said, “I love you,” (1)(2) I would even follow you to hell. You knew that, didn’t you?

It’s not like you. You’re good at manipulating people just by your words. Really, it’s not like you to be kind. Is that why you told me to 'live on’? I fell in love with you (3) not just because of that kindness.

(1) Kallen uses the word 'aishiteru' here. It is a word that carries strong weight in Japanese and is not simply used to express love. You may say 'suki' and mean love, but 'aishiteru' is used between two intimate lovers, and within the show, only between Lelouch and Nunnally. (2) In japanese you emphasize on the end of a line; the "Even if it was a lie" is there to show how great her love for him was, the "wakatteta deshou" means Kallen was quite sure the "Aishiteru" would have come, had he not been kind with her. (3)The love here is 'suki ni naru' Translation by Blottyparchment & Lie

Hope you enjoyed.

[kkulbeolyeonghwa]

General Ainu sentence building

Here's a handy guide on making sentences in the Ainu language.

The sentence structure is Subject-Object-Verb. This will be easier if you know a language like Japanese or Korean which use the same order.

Pronouns have two types: ones to be used "normally" like in English or Japanese, and ones to be attached to the verb. (You've seen the = sign in Ainu text? That's a marker of an attached pronoun.)

There is no verb conjugation. The only time you'll need to modify a verb is when the subject is plural. This is when a verb might change completely. (Check my post on plural verbs.)

Paykar ek. (spring come) - The spring is coming/comes/came. Here, the subject is "paykar" (spring) and the verb "ek" (to come) can mean "to come" at any time. If you would like to specify a time, use words like "numan" (yesterday), "nisatta" (tomorrow) etc.

The sentence structure is very regular.

Toan kur nisatta Sapporo un oman. (that person tomorrow Sapporo to go) That person is going to Sapporo tomorrow. The verb is always at the end of sentences. Here, the subject is "toan kur" so the verb has no pronoun attached to it. However, if the subject is a pronoun, it would look like this;

Nisatta Sapporo un ku=oman. (tomorrow Sapporo to I-go) I'm going to Sapporo tomorrow. The pronoun is attached to the verb. The standalone pronoun can also be included in the sentence;

Kuani anakne nisatta Sapporo un ku=oman. (I (topic) tomorrow Sapporo to I-go) I'm going to Sapporo tomorrow. The meaning of this sentence doesn't change much in English, but including both the standalone and the verb-attachment pronoun act as a stronger message that "I" am DEFINITELY the one going to Sapporo (and nobody else)

Kuani ka keraan topenpe ku=e rusuy. (I also sweet candy I-eat want) I want to eat sweet candy too. The topic marker "anak"/"anakne" and the standalone pronoun (here "kuani" can be left out. However, the pronoun attached to the verb can never be dropped. Therefore, sentences like "kuani ka keraan topenpe e rusuy" are not allowed.

[haru-dipthong]

Love your work!! But I'm curious why you translated Donna Donna when there is already a popular English translation. It is originally a Yiddish song, with the English version popularized by Joan Baez. Did you consult the English version in your translation, and did it vary much from the Japanese version?

Good question! The Japanese version used in the episode differs quite heavily from the common English translations. The main thing is that the structure of the song is very different from the English (and I presume the original Yiddish). The Japanese version drags out the establishing lyrics and setting for far longer.

In the English, the first verse alone contains the calf on the wagon, the mournful eye, AND the swallow in the air (~16 seconds). It takes the entire length of the extended Japanese song to get through all of that imagery (~2 min 28 sec). The Japanese version is not really a translation of the Yiddish in this sense, but rather a new version of the song altogether. The Japanese version contains lots of additional set dressing and lingers on the calf for much longer.

Also

The English translations gender the calf as male, while in Utena it makes more thematic sense for it to be female. Obviously there's no gendering in the Japanese version since that language doesn't really use gendered third person pronouns.

The dona dona chorus in the English version contains only the word dona, while the Japanese intersperses a line about the calf or the wagon in between every 4 donas.

I actually get the vibe that the song was't translated into Japanese word-by-word or line-by-line, but was looked at as a whole and then completely rewritten to better fit into a Japanese sentence structure. Now, if this were the case you could argue it's fine to use the popular English translation, and I would normally agree. But the Japanese has specific imagery that the English version doesn't, or imagery that exists in both but is placed at very different points in the song (e.g. the swallow bit, which only appears in the extended Japanese version at the end of the episode, appears in the first verse of the English)

So basically, they're quite different and I wanted to translate the Japanese version specifically.

[conlangery]

Hello, I hope this message finds you well,

I'm a massive fan of the podcast! I don't know who else to ask conlang related questions. I found this pdf by Rick Morneau, Designing an Artificial Language: Vocabulary Design, on fiat lingua. Do you know if there are any more materials about vocab design like this? I don't want to create a clone of english/japanese/esperanto with fake words, and the field of linguistics is so deep and theoretical that I want to create something realistic, more realistic than a naming language (however I fear sound changes are to complicated for me) I have copies of Morphosyntax and The Art of Grammar and even Linguistics for Dummies, so I think I understand the basics but creating a language from scratch isn't normal. I think I'm not enjoying it because I don't understand the science enough but at a certain point the science is too dense for a rookie. If expert linguists can't agree on the definition of a sentence how am I suppose to make a whole language? How do nouns/verbs/adjectives/phrases/clauses/questions work? I guess I'm just overwhelmed, sorry this turned into a bummer.

best

Listen, there is definitely a learning curve to conlanging. You don’t have to get a PhD to get started, but it is helpful to have a good foundation in linguistics.

I might suggest you look more into resources made specifically for conlanging, as they’ll tend to approach it in terms of how you can use these ideas creatively. Books like The Art of Language Invention or The Language Construction Kit come to mind, or Biblaridion’s YouTube series How to Make a Language.

I don’t have other resources in mind specifically teaching vocabulary creation. Two tools I use are CLICS, which is a database of related concepts that will show you which meanings tend to have related words, and DatSemShift, which is more about words changing meaning, but also includes polysemies. I find that having their data to look at helps me find interesting opportunities for derivation and extra meanings that can help break out of the relex. Wiktionary is great, too, if you go to the translation section and happen to find a lot of good translations to compare definitions.

But the best way to learn is to just do it. Start creating a language and share bits in the community for feedback. As you find yourself needing to understand some structure or wanting to add some feature, research that in detail. You’ll find yourself going on Wikipedia dives and eventually reading academic papers (there’s lots of open access linguistics) just about the thing you’re interested in.

If you want a resource that can help you actually create a conlang step by step, Jessie Peterson’s Conlang Year project may be helpful. Don’t worry about catching up. Just do the daily tasks at your own pace. It’s meant to give you something small to do every day for the whole year.

[noticiasarquelogicasjaponesas]

Parte 2:Razones por las que a los japoneses jamás se le va a dar bien el inglés: Sean bienvenidos, japonistasarqueológicos, a una nueva entrega, en esta ocasión hablamos del inglés en Japón, una vez dicho esto pónganse cómodos qué empezamos. - Por la que a los japoneses les cuesta el inglés más de una te sorprenderá, los japoneses para poder aprender inglés desde cero les lleva alrededor de 500 horas alcanzar el nivel principiante; sin embargo, se necesitan unas 250 horas para aprender coreano o indonesio al mismo nivel principiante. Una de las razones por las que los japoneses no son buenos en inglés es debido a la pronunciación, esto es un hecho. - La estructura gramatical del inglés es: SVO (sujeto-verbo-objeto) donde el verbo va primero, mientras que en japonés, SOV (Sujeto-Objeto-Verbo) donde el verbo va al final. Además, la estructura de las oraciones difiere entre el inglés y el japonés, el inglés es muy estricto en cuanto al orden de las palabras. En japonés utilizamos unas 120 palabras en un minuto de conversación normal. El inglés emplea aproximadamente 1,5 veces más palabras, razón por la cual los japoneses sienten que hablan inglés más rápido. Por ejemplo, la palabra japonesa “personalidad” tiene tres fonemas. Cuando se trata de inglés, necesitamos cinco fonemas: pa/so/na/li/ti, y para transmitir la misma información, necesitamos hablar más rápido. La razón por la que a los japoneses les resulta difícil escuchar y hablar inglés es probablemente porque se les exige que usen habilidades que normalmente no emplean. パート2：日本人が決して英語が得意にならない理由：日本の考古学者たちよ、新しい回へようこそ！今回は日本の英語について話す。 - なぜ日本人は英語が苦手なのか？日本人がゼロから英語を学んで初級レベルに達するには約500時間かかるが、韓国語やインドネシア語を学んで同じ初級レベルに達するには約250時間かかる。日本人が英語を苦手とする理由のひとつに発音があるが、これは事実である。 - 英語の文法構造はSVO（Subject-Verb-Object）で動詞が先に来るのに対し、日本語はSOV（Subject-Object-Verb）で動詞が最後に来る。また、文の構造も英語と日本語では異なり、英語は語順に非常に厳しい。日本語の場合、通常の会話で1分間に使う単語は約120語。英語はその約1.5倍の単語を使うので、日本人は英語を話すのが早いと感じるのです。例えば、日本語の「パーソナリティ」という単語には3つの音素がある。それが英語になると、パ／ソ／ナ／リ／ティの5つの音素が必要になり、同じ情報を伝えるためには、より速く話す必要がある。日本人が英語を聞くのも話すのも難しいと感じるのは、普段使わない能力を要求されるからだろう。 - 今後の記事でお会いできることを楽しみにしています。 Part 2: Reasons why the Japanese will never be good at English: Welcome, Japanese archaeologists, to a new instalment, this time we are talking about English in Japan, so make yourselves comfortable and let's get started. - Why the Japanese have a hard time with English more than one will surprise you, it takes the Japanese around 500 hours to learn English from scratch to reach beginner level; however, it takes around 250 hours to learn Korean or Indonesian to the same beginner level. One of the reasons why Japanese people are not good at English is because of pronunciation, this is a fact. - The grammatical structure of English is: SVO (Subject-Verb-Object) where the verb comes first, while in Japanese, SOV (Subject-Object-Verb) where the verb comes last. Also, sentence structure differs between English and Japanese, English is very strict about word order. In Japanese we use about 120 words in one minute of normal conversation. English uses about 1.5 times as many words, which is why Japanese people feel they speak English faster. For example, the Japanese word "personality" has three phonemes. When it comes to English, we need five phonemes: pa/so/na/li/ti, and to convey the same information, we need to speak faster. The reason why Japanese people find it difficult to listen to and speak English is probably because they are required to use skills they do not normally use. - I hope you like it and see you in future posts, have a good week.

[evanslittlecorner]

Alright folks, it’s that time again, I’m back on my Obey Me bullshit

This time though I’ve been thinking about Obey Me’s cannon story, and more specifically, how much I think it could be improved on. Now listen! I’m not saying Obey Me’s story is god awful or anything, I’m just saying that there are some issues, big and small, that I have noticed, repeatedly

And unfortunately for everyone, one thing that drives me more than anything else in this world, is spite. If I see something and think “Even I could do that better” my god I will do that fucking thing. Whether or not it’s actually better than the original is up to your own preferences obviously, but I like making art for myself and my brain

However, seeing as when I started writing a true “Obey Me Re-written” project I got as far as when you leave RAD after just being kidnapped and then lost steam, I knew I had to approach this differently. My current theory as to why that happened is because the way I write outlines is so bare bones it’s like if you story boarded a ten minute animation by fully illustrating one key frame for each minute. In other words, fucking badly

So here’s my new idea. I will be writing out main story beats for this re-written project as if I were making head cannon posts. This will get the ideas out into the world and help me plan shit out for if I ever decide to take a crack at properly writing the bitch. The story will still be written in second person, like everything I do, and each post should be about a chapter’s worth of story stuff

But yeah, for all the normal people that’s the end of this post. I hope you have a lovely day and that you’ll maybe wanna read the re-written posts as they come out? No pressure tho. However, for you sick fucks who actually care about the gripes I have with Obey Me’s story and what I intend to change then you can click that little Keep Reading thingy right below this text. But I warn you. It’s a doozy

Alright, first off let's address the obvious. Obey me is a free mobile game whose original language is Japanese. That might not sound like much but that one sentence explains three minor problems I have with Obey Me’s story, The pacing, The word choice, And the sanitization

The pacing is obvious, you unlock small bits of the story by playing the game and beating mini games. For the app to work the way it does the story has to be able to divide into these little chunks. But since I’m not confined by app structure my story will not have those odd chunks, allowing it to, hopefully, flow a little better

The word choice is a very nit picky thing that gets to me personally. Since the game has gone through a small game of telephone before us english only nerds can read the damn thing some things are just going to be lost or misused after translation. Since english is my first and only language I don’t have to deal with any of that in my version

And the sanitization! Again, Obey Me is a free mobile game, which means it needs to be advertiser friendly, which means The Avatar Of Lust is demoted to Avatar of Flirting and Vanity. My demons will cuss, fuck, and GASP…hold hands with y/n. Lol, seriously though, plot wise it’ll take a bit to get to fucking just because once you say fucking’s allowed you’re not getting out of bed for at least a week due to your demons swarming you, but I might write some stuff on the side that’s a little later in the time line for fun

Another small gripe I have is The Train Mystery. If you know, you know. That one will probably take some time but by Dia’s sweet ass I will make that a proper mystery

Also, not really a gripe but a change. Luke will not be in my story. He’s a cute kid, don’t get me wrong, but I’m a lusty bitch who wants a harem/poly story so no kids allowed. He’s off baking the whole time, he’s busy

A bigger issue I have with the story is that, no one has strong opinions on each other? Like, maybe for a lesson they do, but it’s never really brought up after that. And sometimes established opinions are tossed out the window to make the plot of the week happen. None of that, my boys have feelings about each other damn it! And if you’re wondering if any of those feelings will be slightly romantic or sexual. I’ll never tell :3 (Yes, the answer is yes)

Another big change I’m making is that the y/n will not be related to Lilith. They’re just a human with lataint magical abilities that only wake up in a big way once they start making pacts with demons. It’s not that them being kinda related squicks me out or anything, what did I just say above this paragraph? No, it’s just how fucking weird they handle it? Like, Obey Me can not decide if it wants the y/n to be exactly like Lilith and the brothers see them as her but like reincarnated or something, or if it wants to forget about Lilith entirely to side step the whole “You’re just like my dead sister, let’s make out about it” thing. Cowards

The final thing I will be changing (that I remember anyhow) is the lifeless y/n. Don’t get me wrong, the Obey Me y/n does have a few personality traits that stand out (Mainly being kind, chaotic, and a little dumb in some spots) but my y/n’s are characters in their own rights and this one will be no different (They have some anger problems :3)

But yeah, if you took the time to read all this, thank you! I can’t promise how quickly I’ll make re-written posts but I’m excited about the idea. Since I’ll be laying out all the story and character beats out so openly anyway feel free to ask even spoiler-esq questions if you’d like, I don’t expect any but the invitation is always there. I hope you have a wonderful day/night, bye bye :D

[nanowrimo]

Back to School: Interview with Chiho Nakagawa, Young Writers Program Educator

NaNoWriMo’s Young Writers Program helps over 85,000 kids, teens, teachers, and families set creative goals and tell stories they care about. We asked some of our amazing YWP educators to share how they take on the NaNoWriMo challenge in their classroom. Today’s advice comes from Chiho Nakagawa, who teaches English as a second language in Tokyo, Japan.

Q: What grade/ age level do you work with? What type of NaNoWriMo group is it (whole class, club, homeschool, elective, etc.)?

A: 10th grade, whole 2 classes of 80 students whom I teach three times a week, last year I did with them. Two years ago, I did it with all the students in the 11th grade (about 250 students)

Q: How long have you been doing NaNoWriMo with your students?

A: 6 years. During these 6 years, I skipped two years ago as my students had to focus only on preparation for their university entrance exams.

Q: How do you structure the entire project (for example, do you start prepping in October and write in November, do you have kids work on it all year, etc.)?

A: I start the NaNoWriMo project in April when our new school year starts. Once or twice a week, our students have time to read books in the morning homeroom. As our school has an online library, most of them read online. During their break in summer, they read more books and decide their best one. After the break, they have biblio-battles in class. They upload the picture of their favorite book to OneDrive to share their recommendation with all the other students. For the preparation of their creative writing, they think of a story in a group, looking at one picture. They write a sentence in turn to make a story. Sometimes, I give them the same starting sentence and they create the following sentences together in group. Though they start with the same sentence, each story expands in totally different ways, which shows them their varieties, diversities and uniqueness. When I have such activities, I usually let them write in groups using Google Jamboard. Then, just before they start writing, they start creating their main character online using the Avatar maker. After that, they create their own page using OneNote and upload their main character and plot in the roller coaster style format . After their writing in November, we usually create their collection of stories online and share it in class.

Q: What does a normal NaNoWriMo day look like for your students?

A: Full of creativity. They are obsessed with their stories. Many students talk about NaNoWriMo. Of course, there are some demotivated students who struggle with writing, and they say NaNoWriMo, YaRaNaiMo. YaRaNaiMo means “I won't do it” in Japanese. Even though they have difficulties and feel discouraged, they use the great rhyme. The rhythm in Japanese “yaranaimo” sounds not terrible but cute like kids in kindergarten. They are full of energy and joy that shows they are interested in writing even when they complain.

Q: How do you set and manage word-count goals?

A: I believe in my students' autonomy. Nobody writes low goals. Some are even too ambitious but as it is their choice, I respect them. I give them some sample numbers and they usually arrange according to their skills. Last year, they set their own goals and I put them into groups. They made bar charts to show their progress in groups and they competed between groups, which I think was motivating.

Q: How do you manage grading? Do you grade?

A: No. As long as they try and enjoy the activity, it would be great. If they did, I give them points. If they did not try, I did not give them any grades. I just celebrate their writing.

Q: How do you approach revision/ publishing (if at all)?

A: I never check their grammar mistakes. I usually publish as they write. I can see some parts which are difficult to understand, but it would be okay. They will see that not a lot of their classmates read their novels as they are difficult to understand. The following year, they will do it in the same way and they will read their previous year’s novel. Then, they will find how much they have improved. Some of them told me not to show their previous one in class as they find their mistakes.

Q: Any NaNoWriMo tips or tricks to share with other educators? Hard-won lessons? Ah-ha moments?

A: NaNoWriMo encourages my students to read. My students are not bookworms but they read as they would like to know how to start writing and how to make a story. Also, they are interested in other students' writing and try to understand them. Reading encourages them to think and understand others, which encourages them to respect others and their own identity. While they struggle writing, I would like to help them but it seems that nobody can help them. They solve their problems by themselves as their novels are just from their inside, not from their outside. Finally, they know how to control themselves and how to talk to themselves.

Q: Have you ever run into resistance from your administration about doing NaNoWriMo, and if so, how did you manage it? What do you say to people who don’t see the point of having students write novels?

A: Yes, some say that I should teach English for English exams. Getting Exam skill is the most important and creative experiences are not practical, they say. However, creative writing is effective in preparation for exams as students think more logically and critically to make their work better. They learn grammar and vocabulary to make their sentences clearer. My students' engagement gradually changes their mindset and finally, they understand what they have achieved as their novels are based on what they have learned in other subjects and their whole lives. As everything inside of themselves is combined to make their novels and shows that it is a integrated learning, they finally agreed to make it and now, they encourage me to do it.

Q: What are the most meaningful things you or your students take away from the project? What's your best NaNoWriMo memory?

A: They find their identity. They read their friends' writing and they find they are different. They find their own uniqueness and start enjoying the difference. After NaNoWriMo, they praise each other for their achievement and effort and it was the happiest moment.

Q: Anything else you'd like to add?

A: They learn not only about language but also about rights such as copyrights and personal information. Also, they learn creation is enjoyable after their struggle. This is an output activity with creativity, but at the same time they learn input is important to make their knowledge richer. I would like to encourage my students to read more, but how much I told them to do, they did not. Therefore, I thought of a different method, writing a novel, and it was totally successful. They read as they need to write. Their reading starts as if they check samples.

Chiho Nakagawa is an English as a second language teacher at a private school in Tokyo, Japan. Her motto for teaching is to raise independent learners. Her project-based learning classes improve her student’s creativity and autonomy. At the same time, her students find their own identity and respect others as they experience differences and uniqueness. She is also good at creating classes making full use of ICT as a Microsoft Innovative Education Expert and Adobe Education Leader.

[croik]

Hastur’s mind buzzed excitedly. Though he had virtually no experience teaching his own language to a mind as relatively simple as a human’s, every inch forward in Arthur’s progress brought him a prickly delight. To say nothing of his particular choice… “Yes,” he answered with as much restraint as he could muster. “Though stressing verbs like that is more of a regional dialect. In Carcosa we would simply use the word for longing, myhrey.”

(if you're still accepting fic asks!)

(Yes, I love talking about worldbuilding and characters!!)

Not sure if you're more interested in Hastur or the language stuff here, so I guess I'll blah about both XD;

There are only a few phrases of canon "Cthuvian" in the mythos - three or four famous sentences by HPL himself, and a few add ons from other authors. As far as I can tell there isn't much in the way of fan-completed con-langs because there's not much to work with, the language is *supposed* to be unintelligible, and some of the authors who added to it were lazily just slapping funny spelled words on English sentence structure etc. But there are a few things that seem relatively consistent: pronouns that become a prefix when attached to a verb, like "ya / y'"; prepositions also become prefixes to the noun they're describing like l'ebumna and l'geg. There's only one example in the spattering of words that uses repetition (n'gha-gha) and I don't think we know what it's supposed to mean, but while randomly googling language concepts, I was thinking of how in English we use repetition to slightly change the meanings of things ("do you LIKE HIM like him?") and was amused by the idea of inserting something similar to Cthuvian. So this part of their lesson is not "canon" but nothing says it couldn't be either.

I have a little spreadsheet devoted to what I've sussed out of the Cthuvian that appeared in the actual stories, and I've been slowly adding some things just for fun, trying to work out the basics of how the language could be structured. But I'm not a linguist so I doubt it's impressive yet lol. I haven't really done much research other than some language classes in college while learning Japanese.

This fic (I Long to be Filled) I started writing before the story that now comes before it. I originally meant for it to take place someone fairly soon after the Squeezing, but ultimately decided I wanted them to have some "normal" sex before Hastur whipped his real dick out, which is why there are references to the Scholars and such things that came up before but haven't been paid off yet (oops). I've since developed a lot more backstory for how the King came to Carcosa in the first place, which may come to light later. But I especially think that part of what sets the King in Yellow apart from other mythos figures is his canonical connection to theater, music, and the arts. He fancies himself not just as a god but royalty among gods; he distinguishes himself by his ornaments (he's the king IN yellow, the play describes "the tatters of the king" rather than the king himself). Compared to his half brother, he's CULTURED. We get to see a little of that in Malevolent but way more in John (and Yellow) than with the King himself, which is interesting considering that John is in some ways a more pure version of the King, free from thousands of years of experience.

So this whole fic we get to see a version of John who is learning that his appreciation of these things has a long and illustrious history, and a version of the King who is finding new ways to delight in parts of his nature that have been commonplace to the point of complacency, relearning himself through Arthur's study. And that's very exciting for him :3

Thank you for the ask!

[yanderefairyangel]

Alright, for those who wonder why I use the jpn version in my analysis read under the cut

Warning : discussion about Engage's localization

So the reason is actually linked to several factor.

1/ The Methodology for Media analysis

The analysis I do for Engage uses a methodology normally use for researches in literature, such as literary commentary on literary works, movies etc.

However, for this I need to use the original text because no matter how perfomant the translation for Engage may be, there are things that are bond to be lost in translation.

Each language have its own system, its own rules, its own semantics. And since words and semantics is what guide the meaning and the general interpretation, for the sake of hermeneutic, you need to read the text in the language in which the author write it originally to be able to properly evaluate their competence and acces to that meaning without any sort of screen in between.

For example, imagine you are French and have to study Alice in Wonderland : there are many puns that are tied to the English language and that are bond to be lost or less efficient in another language. So it doesn't matter how performant the French translation is, you'd have to read it in English to be able to properly evaluate and appreciate the text.

In the case of Engage, japanese language is part of the hardest language to translate because it has a quite complex structure : 3 alphabets, several ways to refers to someone etc. Just to give you an example, do you know how many prounons there is in total in japanese ? You can say "I" in over 8 ways. There is several way to conjuct each verbs that all translate to some subtlety about the speakers : are they polite ? are they casual ? are they rude ? and so on and so on.

Because of this, the possibilty of the English language of not being able to properly rander the subtlety in japanese due to essential difference between the two language ( In English, "boku" and "watashi" or translated both by "I" so you can't distinguish it in English when in jpn it has a nuance)

An example of this in Engage can be found with how Veyle and her other self speaks differently : in the jpn version, other then the switch between the voice, regular Veyle speaks in hiragana and kanji while using a lot of speech manerism meant to have her sound childish, innocent or cute when other Veyle speaks entierly in kanji and uses speechs maners supposed to convey maturity and arrogance. In English, none of these can be translated so the only thing that remains is that the two Veyle have different tone and that their speeches difference is less blatant and strong.

2/ Problem with translations in general

Traduttore traditore, I am sure you have already heard this words ?

The idea is that since the language system are that different, no translation can be as efficient as reading the text in the original language, as I pointed out by 1/.

The main problem with translation is that even a literal translation woudln't solve this problem. Other then that is the fact that literaly translating a sentence doesn't work so you have to find others ways.

In general that is done by always trying to improve the sentence for it to sound as natural as possible in the language you want to translate it.

Example : あなた の 事 を 好き.

Literaly this sentence can be translated as " I like your thing" however, in japanese, it isn't rare to have the inclusion of 事 to not add anything and that this sentence would simply mean "I like you", which is a more accurate translation to the jpn meaning even if not literal. Translating expression means that you cannot render them literaly. And in this case the best translation for this sentence is "I like you/I love you"

Another example in 3H this time

When Rhea ask you to protect her in chapter 3 of White Clouds, in japanese she says "Mi o momoru" lit. "protect my body" which obviously can't be kept in english and is simply translated as "ensure my safety" which works cause that's the original meaning

Which come to the next point about translation changes that come into different categories.

There is change that don't affect the meaning

I repeat, the priority for a translator is to convey the original meaning intended by the author as faithfully as possible and by any means possible, thus they musn't add nor remove meaning to avoid changing this original meaning.

But as I explained, words are the key determinator to the reading/interpretation of a sentence meaning that sometimes, changing/adding/removing one word can entirely cahnge the meaning of one sentence. It isn't always the case mind you.

For example : いい/good and 素敵/nice are different word, but their meaning is close enough for them to be interchangeable without changing the whole meaning of a sentence.

However 素敵/nice and きれい/ pretty can be interchanged despite not meaning the same thing but will translate the same idea.

But when one has to translate, the full context can be helpful.

Let's try with this whole sentence :

マリーはとても素敵な女の子です /Marī wa totemo sutekina on'nanokodesu

The literal translation is "Marie is such a nice girl" which is correct in English but can be rendered in different way to make the dialogue feel more like it was originally written in English such as

" Marie is such a sweetheart" different from the first proposition, however, the meaning remains the same : the speaker is still talking about how much of a good girl Marie is.

But if you add a word now : "Marie is the nicest girl ever" you changed the meaning here. We went from saying that Marie was a very nice girl to the speaker claiming that Marie is the best girl of all in this timeline. All of these because of the addition of superlative form. This might seems small, but it's already changing the meaning since the original wasn't trying to infer that Marie is the nicest of all girl, but simply that she was a very nice girl. This is adding meaning to the original text. And in the context it can be wrong : imagine if the speaker knew Marie for a short amount of time. This is exagerating the original meaning.

Another one : let's imagine that the speaker actually don't like Marie and was being sarcastic. The translation would be : "Oh, Marie is such a nice giiiiirl !" This is the same as the literal translation however, the play with the form such as adding italic or the extension of the word "girl" with the addition of the several i manage to convey the ironic tone without adding a word, but from it you can get that the speaker doesn't think what they are saying.

However if you translate it as such " Marie is such a goody two shoes" it doesn't work. Why ? because the original context was that the speaker was being ironic which means that this translation is the implied meaning. However, this translation turned the implied meaning into the explicit meaning. Which means a nuance was removed in that translation.

However, I also need to point out that depending on what you translate, the strategy won't be the same.

For example, if you have to translate an article, you only will need to respect the meaning supposed to be conveyed. But if you have to translate a song or a poem, you'll have to try to be creative enough to make elegant sentence to try to restituate the aesthetic of language since poem and songs are generally using words as aesthetic tools.

Now that it has been said, let's talk about Engage but before a warning about : Me and Treehouse.

3/ Different sensibilities

Depending on your relation with media, your relation with translating methodology will be different.

For my case, I am a literary students. So when I have to do translations, I am always tasked with making a commentary of the whole text from which i have to translate an excerp from, meaning that I must first analyse the text and understand the author's intention or what the text says before going into translations. Because of that, I might focus a lot on the meaning and effects on writing. I am aware that there are stuff that are a big no no such as literal translation if this doesn't feel natural and I do doujin song translation as a hobby, so I know you can't make a purest literal translation but you might see why having the idea of studying in detail the text before translating it might help avoid problems.

Treehouse however aren't on the same board because they are localizers. Their goal isn't just to translate but also to adapt things for their own audience to feel familiar.

For example, like this localization made on Animal Crossing game

So I am not trying to say I am better then Treehouse, but pointing out that while I am focusing on the writing, Treehouse as a more ... pragmatic way of dealing with translation, let's say.

So, let me be clear, Treehouse aren't bad translators, however, there is no denying that they have gain quite a bad reputation because of what they did to Fire Emblem fates and 3H.

For Fates, go check emblemxeno's post

For 3H, if I had to choose an example, I will simply go by this one example of Ingrid. In her original support with Dedue, she apologized at some point for being rude. Instead, Treehouse translated it as her being meaner. Another one : when she fights Sylvain, in the jpn version she says she can't fight with him in a sad voice. Treehouse translated it as her being rude and meand towards Sylvain, as if she was angry. Those two examples are changing the meaning of what Ingrid says and thus, the interpretation.

Now how does it connect with Engage... oh well

-Why is everyone so nice in Engage ? Well, it's because japanese people are very, very polite and respectuous. So, of course, they couldn't have them be all rude for no reasons. You migh argue that back then, not every Fe character was as nice however, you have to remember that not all FE game were written by the same person with the same contribution. While Komuro was a main writer for Awakening and Fates, she wasn't the only one while in Engage, she is credited alone for the writing and marked as the scenario director when for Awakening it was Maeda and for Fates, Kibayashi.

Why is there so many characters that repeat the last words of sentence like an echo ? Again, a japanism in the English version. In anime, you very often have dialogue where character repeats the last words they hear under the form of a question. Example :

So this, for example, is the bad side of being too literal when translating since those seems very unatural in other language.

JPN speciality hard to translate : an example of this in Roy and Louis bond. It revolve around a pun as in jpn they have the same prounonication.

Another one is Yunaka

In the jpn version, Yunaka speaks a very weird "fancy japanese". she use the watakushi prounon : watakushi itself is usually reserved to noble ladies of nobility in Japanese stories or "ojou-sama" characters. This is what Rhea and Etie uses. But she adds a me meaning she refers to herself as "watakushime", in that case, it is meant to be derogatory. She doesn't call Alear "Shinryu sama" but "Shinryu shi" 神竜氏 which is rather literary and finally, she used the equivalent of "thou" to refer to people to the 2nd person. This made the OP that translate the Engage manga quite confuse as they didn't knew how the English translation handled all those gimicks. The answer is that they simply translate Yunaka as speaking casually : her "I" and "you" can't be rendered, you can render how she refers to Alear in a way that is different to the other characters and finally, her expression are all tied to JPN since instead of Hiya Papaya, she originally says "Yoropipi" a sill way of saying よろしく/Yoroshiku. Necessity to adapt the idea that Yunaka's speech was over the top and peculiar had them not translate it literaly, which is fine because the meaning is respected.

Another example is that when the localization made a removal that was bond to be lost, they are forced to change the dialogue going with it because the context is not any longer relevant.

For example, as I explained before Veyle and her other self speaks differently, with different speech maners and a different alphabets. Therefore, in such context when Veyle was revealed to be the hidden figure, Alear screamed :

別人？でも、あの包帯は私���巻いたものです。

あれは一体・

" Is it another person ? No, she is wearing the bandage I putted on her. What on earth is this ?"

The reason why Alear is saying this is because of the drastic different the two Veyle have in their speeches which makes sense in context seeing how those are very different speech maners. A little like Rafal switching speech maners when he is "Nil" and when he is himself.

However, since those elements are very closely linked to the jpn language and aren't possible to translate in English, you can't have Alear say that because the context was lost. So the localization simply translated it as :

" No, it can't be. But... that's the bandage I used to dress her wound"

And then you have the necessity to adapt stuff because of those loss. An example of this is Rafal as I developped more. He might sound meaner in the Eng version compared to the jpn one but keep in mind that since a lost of his gimmicks were lost, they had to adapt. To a jpn audience, Rafal is probably just as rude to us then in his in the jpn version.

Another phenomenon is that the localization isn't able to properly identify the context. In the DLC, when meeting their other self, Alear says

"Almost as if this is a chance to get back... something that I lost a long time ago"

But in reality in JPN they says

遠い昔に、置いてきた何かが... 取り戻せるような。

Its like ... getting back something I left behind a long time ago

it's not mere picking but "lost" and "leaving behind" have two different meaning. When you lost something, it means you leave something but not deliberately, this happen despite your own wishes, you don't wish the thing you lost was lost. However when you leave something behind, this mean you left this thing on purpose, it was a deliberate choice, a decision you made out of awareness and not something happening despite your will.

置いて/oite means to place, put, set, to leave something, to leave it behind . It's very different from lost, it can even mean "abandon". In chapter 10, when Alcryst resist the order of leaving, he uses this words in the context of Marth suggest they leave saying " And abandoning Father there ?" The jpn word for losing is either 迷い/to be lost or 失う/ lose but not oite. So the jpn is implying that a long time ago Alear left something and it's like they can finally reclaim it while the english one is saying they lost something. In one case, there is inference of a choice made by Alear when in the other, something Alear wasn't responsible for but happened despite of them. However, since the localization probably didn't identify to what exact context Alear is refering to, they chose lost because it is more vague and less precise then leaving behind or abandoning.

Now, however, I'd like to point a particularity that is something localization can do, but not translator : not translating a sentence. let me explain.

Sometimes, the localization, rather then offering a translation for some lines, will completely change it to the point you can't call that translation anymore. However, the only problem with this is when it affects the story or the narrative in a... weird way let's say.

For example, at the end of his B support with Alear in the localization:

"After all that, you mock me ?! This conversation was a mistake!"

"Wait Rafal, I didn't mean to.."

"Enough of this prattle ! Goodbye !"

But in the B support

" Ah ? Are you making fun of me ?! I will go now, forget what I told you just now !!"

"Wait Rafal, please tell me more about you !!!"

"Silence !"

So while the two sentence for Rafal are of the same meaning, except phrased slighlty differently, in the case of Alear those are completely different. In the JPN version, Alear didn't felt like they upset Rafal :in the original, they didn't upsted him, the reason why Rafal wanted to go was because he was flustered since in the original, Alear slimped some compliments to him and Nel. And they asked him to tell them more about him, to which he refuses. In the English version however, Alear have the impression they upseted Rafal and were trying to apologize. This change modifies how we see their relationship : in the jpn version, after showing his soft side, it was shown that Rafal isn't conformtable with showing his soft side and gets easliy flustered but the support ended in a friendlier fashion then the English one since in this one, Rafal gets upset and refuse to hear Alear's apology.

It's not an important change since it doesn't affect the story or seems to contradict Rafal's developpement so it's fine.

Another example this time in the main story. In chapter 9 when she meets Alear again, Veyle tells them this :

" I owed you for patching me up the other day. That was so kind..."

However in the JPn version

この前、包帯を巻いてくれたお礼だよ、あの時のあなたの手、温かかった

"Take it as a thanks for having bandaging me the other day. Your hands were so warm"

I am quoting this one because I saw a lot of people screaming "censorship" at that one (I guess only 3H character are allowed to say "you have warm hands") but let's see what it does ?

It's basically the same situation as the Mary goody two shoe example. Veyle commenting on Alear's warm hands is an indirect way of saying Alear is kind. So is it a big problem ? No, not really. It's still more or less the same idea, it's just that this change makes the sentence a bit more flater. However, does it affect badly the story ? not really. Compared to the previous examples were it hurted the pacing but it couldn't be helped, this one doesn't.

However... now we are getting to more questionable translations.

For example, Mauvier in chapter 17 if you fight him says

"I will stop at nothing to protect Lady Veyle!" which character wise makes sense for him to say right ? HOWEVERin the Jpn version he says that :

"For Lady Veyle... I..."

Now I agree, literaly it's flat. But the problem isn't that it's out of character or trying to put the sentence more elegantly, but that it doesn't fit the context. Even if it's in character, they all have their time in context to express something. A chapter is a whole unity of context for a character to act, so changing the dialogue to a way that don't fit the context creates a problem and that's a bad translation.

The English version made Mauvier sounds way too confident when in the JP version he is supposed to be expressing hesitation, making sense since during the entire story, Mauvier is shown as a man having trouble expressing what he feels and very, very, very passive and slow to react. This line was keeping in touch with how slow and passive to the Hounds misdeed he was and how he felt conflicted since he isn't one to take initiative. The English translation didn't respect that though.

And it's not even the sentence, but the semantics could have still makes that work if for example

"To protect Lady Veyle.... I... I will stop at nothing"

the suspension mark and repetion and change of orders creates the feeling of hesistation that was lost.

Another wonky choice is when he fight Zephia :

He says he felt a true bond with the Hounds, but the jp version has him simply state that as someone usually solitary, the bond he felt with the Hounds seems out of character for him. And while I don't think it changes a lot in terms of meaning, it still kind of subtle : true bond would be the idea of a real, deep conection while out of character would simply mean he felt something with the Hounds he felt like was unsual for him to feel. So eh...

Some suggested it was to fit the animations those changes were operated, but seeing how there is instance of the model not opening the lip as they remain silent in jpn yet the localization added some lines.... allow me to have my doubts

Another example this time with Marni. I already got to touch on it in a post, but deleted when I received a note saying I was nitpicking... but seeing how I saw this line being USED by others, I decided "ok, I'll be talking about this again after all".

So in chapter 17, Marni says to Veyle

" Oh I get it. You switched huh ? You're the boring one."

When in the Jpn version, she says, literaly

"Oh... could it be... if feels like she is back !"

So what's the problem here ? Well, the English version added a meaning that didn't existed. So to be clear, I am not saying it is out of character for Marni to think Veyle is boring, but that 1/such implication don't exist in the jpn version 2/just as for Mauvier, it isn't a good context and it breaks a little the unity of this chapter.

The English version make it sound like the sentence was trying to infer something about Veyle and Marni's relationship which we later learn wasn't very cordial. However, in jpn, it only exist for someone to mentions the 2 Veyle plot point. And I'll explain why exactly it's a problem because of how this line can be use (I know it since people constantly use it as an evidence that Marni is a psycho)

In this context, Marni calling Veyle boring might seems because Veyle don't praise her or don't like what she do to have praise but the difference with Mauvier for example, is that there was an actual built up in the scene where she says she hates him for he never praise her. There, there is none, no reason at all. Aside, the other hypothesis is less likely as Marni doesn't enjoy killing but praise, and its the only reason why she is eager to fight, but her interaction with Other Veyle that Marni doesn't mind not having to kill people at all as long as she receives praise. Compared to that Pieri who pounted when Corrin told her no killing, Marni isn't upset at all. And in chapter 19 when Zephia tells her to have Mauvier with her, while at first she wasn't too pleased, she still accepted to obey Zephia as long as it meant that she could get praise. So the idea that its why Marni calls her that in English doesn't work either, moreover, Veyle is awake for barely longer then Sombron and is mainly wondering around which is why she remains ignorant of the Hounds action so it is unlikely that Veyle ever got to scold Marni like she does in chapter 17 making it impossibel to understand that it is that. The only remaining possiblity is that Marni would call her that because Veyle is kind and her other self likes to hurts people.... so I let you imagine the problem. Because I got someone telling me it was due to the larger context of how Marni acts but I disagree, because this doesn't work with the little we know of Marni and Veyle's relationship, as I explained but the fact that her "boring" is largely interpreted by people as her calling her that because Marni enjoys killing people and that she is calling Veyle that only because Veyle doesn't like violence makes it so that it ruins the set up for chapter 21 where Marni says that had she known about Veyle's situation, she would'nt have did what she did ( "I had no idea about all that.. That's why I helped you doing those awful things") so any line that can be understood as Marni enjoying killing rather then Marni taking pleasure in getting praise since it is her moral compass and leading her to do awful things just for that hurts that change of heart. And yes, the main argument I am trying to debunk is that "Marni is a psycho, I mean she is calling regular Veyle boring because regular Veyle wouldn't let her hurt people" that is the main interpretation of this element in that scene.

Because I repeat, in the jpn version this scene isn't trying to infer Marni don't like Veyle, unlike the English version since it went as far as having Veyle repeat the word "boring". So, I am not saying Marni isn't a sadistic person, because she quite is, but that it is only due to praise and not her love for killing people unlike... you know who

And that is that element that makes her change of heart much more consistent. Having Marni enjoy those only for praise rather then for killing sake makes more in sense with her character and why she would suddenly feel regretful about it.

Besides, I don't think they actually did that to fit in character (it's Treehouse come on) but simply to avoid saying "the other Veyle" when speaking of regular Veyle since it's only used in the context of the Evil personality.

I repeat that in the jpn version, this word supposed to infer Marni doesn't like Veyle doesn't exist, so if the idea was to simply make Marni seems more hostile, then the example I gave about the Marie sentence being said in an ironic way is the way to go because there is several way to translate it without adding a single word.

If the emotion to stress is surprise : " Oh... Oh no ? Don't tell me she woke up already ?!"

If the emotion is Marni being displeased : "Oh no... I get it, you are THAT lady Veyle huh ? *sight* Why did you had to wake up already ?"

That part might seems like I am being petty, but I swear I am not. The moment you add a meaning that didn't exist, this means you are already trespassing the boundaries.

I get they didn't wanted to translate it literaly because it was flat, though the Veyle example of chapter 9 makes me think after all they could since that, and other instance might seems flater then in the og version

Now still on that line but for other reasons. A popular headcanon for Veyle is people saying she has DID. Which is fine, but the problem is that there are other people trying to prove that in canon Veyle has DID to... say she is a bad representation for DID.... when she doesn't have DID....at all.

And in general the argument focus on Marni saying that the Veyle switched... but in jpn what Marni says what that Veyle returned/戻る and again, the nuance is that this means regular Veyle is being acknowledge as being the normal state and original state, while swich is largely understood as giving other Veyle as much legitimacy as Veyle then she actually had in the jpn text. Because each time Veyle is "leaving" for her other self to pop up, it's because Zephia is near and when she isn't near, the other go to "sleep" but doesn't come back unless Zephia wokes her up or that something reminding her of her mission appears such as chapter 9 where Veyle was trying to take Marth and going numb for a moment. This clarification was lost in translation.

Now I'd still like to make the disclaimer that this line can still be something you can disagree with me, I am aware, and that it's not the localization's fault for people nitpicking it since I am 100% sure Treehouse didn't planned on people nitcpicking their choice of words but seeing how it affects Marni's redemption and the Veyle plot point, it's still not great and ... that's not over. At all.

In chapter 7, a recurent complain is that Lapis sounds too hostile.. which once again is more linked to people being tone deaf since character can have several layers and it's been established many times Lapis can be quite fierce on the battlefield. But the main argument is linked to that line :

"It's the kingdom of warriors. Here the weak serves the strong"

... who is simply a way to adapt the original jpn text

"If you are weak, you'll be robbed off. That's how it work in this country"

Brodia is a meritocracy, but what Lapis wanted to convey was that you have to not be weak to survive rather then the idea that the strong dominates the weak.

But those are just examples, and you could argue personal gribes. Now onto the reaaaal problem... when localization made very, very, very questionable changes.

In chapter 24, after you defeat Zephia, when Alear and Veyle discuss about how they will never see her again, at some point for some reasons they say : " She sacrificed herself to help us" or something of the sort.... we can all agree that it never happened right ?

Guess what ? It's the localization mistake

ですが、彼女のおかげでまた前に進めます

このことを無駄にしないためにも、ソンブルを止めに行きましょう。必ず。

"But thanks to her [Zephia] we can keep moving on foward. We musn't let this opportunity got to waste! We will defineltely defeat Sombron"

In this sentence, Alear isn't implying Zephia sacrificed herself, but that what should not be sacrificed is the opportunity given by her help. Which makes more sense in context since Zephia died because we killed her and she never sacrificed herself to help them.

Other one : Nel.

In the Fell Xenologue, for reasons, she says "After all these years" but in jpn she says

本当に…本当に長かった・・

It really, really has been a long time

No mentions of years, here and it makes sense considering that, while it is left unknown how much times as passed since the death of the other Alear, it is supposed to take place in a parallel fashion then the events of the main game story, moreover, it seems obvious that the enemy Nel and "Nil" are facing started rather recently to generate shenanigans so it doesn't make sense at all for Nel to say that. If they wanted to let this vague, they could have go for a simple "After all this time", but not YEARS. And I know some people tried to explain it as "Rafal spend 1 000 years waiting for Nel but in Alear's world it has been only one week or less" but think about it for 2 seconds... does it make sense for Rafal to wait for years to begin the plan ? Does it make sense for Nel and "Nil" to wait for years before saking for help when their world is in danger ? and you forget that in the Somniel, times passes slowlier which is why we have the time to wonder around rather then going on the next chapter right away.

another one

This time it's more about people being petty because I don't remember where I saw it but someone was trying to imply the chapter 10 twist failed because they misunderstood the structure of said chapter and was quoting the fact that Alear was responding to Griss by accepting their challenge as a proof they didn't retain anything.... well, whatever, that person was holding onto nothing but one thing I noticed is that the localization removed something.

Fine. I don't know what you're after, but we won't let this chance pass us by.

Jpn version : "I get it. I don't know what you have in mind, but if there really isn't reinforcements comming, then we will seize this chance"

Which is showing that Alear is being more cautious right here, since they say that they are doing this because visibly there isn't a chance for reinforcement to come and that they can sense Griss isn't lying ... because he has something else in mind.

I swear those people

So with all those factors, you will all agree that looking at the original text is much better to have an objective hindsight on the writing then using the translated text.

[proudfreakmetarusonikku]

it’s funny how ppl think kirby can’t speak bc of the anime bc. one he can speak a little there he’s just very young. he says intelligible words sometimes. its just less common in the English dub bc Kirby's VA is the same between regions so they edited out the Japanese words most of the time. and two game kirby talks plenty lol it’s just usually his dialogue is implied instead of being written out like everyone elses. the pause screen descriptions in the gba are written from his pov. he's about as verbal as most characters in smash. there’s a whole drama cd which is just him talking about stuff he can speak fine. he's not exactly a master orator or anything he's a kid who still uses fairly simple grammar and sentence structure but that’s perfectly normal for children.

[ltl-language-school]

Is Japanese Hard to Learn? Myths and Facts

Learning a new language is never easy and Japanese is no exception to it. One thing that often describes Japanese is the complexity of its writing system and its peculiar grammar. Therefore, many people brand it as one of the most difficult languages to learn. Is this true? 

Let's discuss some of the common myths and facts related to learning Japanese to give you an idea about what to expect on this journey.

Myth 1: Japanese is Impossible to Learn 

Many people believe Japanese is a language that is impossible to master, particularly for native English-speaking ones. Of course, Japanese doesn't fall without its difficulties; one of the major challenges is mastering all the kanji and new grammar rules.

In reality, Japanese contains elements that could be easier to learn than any other language. The pronunciation in Japanese is also much easier to learn than in the English language because it utilizes fewer vowel and consonant sounds for pronunciation purposes.

Fact: The Writing System is Complex

One of the big challenges for anybody who is trying to Study Japanese is the writing system in place in that country. The language is written in three different scripts: Hiragana, Katakana, and Kanji. As there are 46 characters in each of hiragana and katakana and are therefore not cumbersome to memorize, it may seem that both are phonetic alphabets.

Kanji is the tricky part. It borrows characters from Chinese and involves thousands of characters, all of which have their meanings and pronunciations. It requires continuous effort and practice. However, mastering kanji can be an extremely rewarding experience because it is what enables one to read Japanese texts and, more importantly, know the culture.

Myth 2: You Ought to Be a Genius to Learn Japanese

That's a myth. It doesn't require some sort of genius intellect to master the Japanese language; it requires effort and the right method. It is very possible to quicken the pace through regular practice, exposure to the language, enrolling in the Best Japanese Language School or using online resources.

Like any language, Japanese is best learned in small chunks. Start with the alphabet, basic greetings, and phrases. Then move through grammar, vocabulary, and eventually every other structure in Japanese. The more time that passes, the more smoothly your understanding will build.

Fact: Immersion Speeds Up Learning 

Immersion is one of the best ways in which you can learn Japanese. You could watch Japanese TV shows, listen to Japanese music, or even visit Japan, which would increase your learning process. Immersion is a way whereby you hear the language in normal contexts and hence will improve your listening and comprehension.

Many language learners also benefit from joining communities or enrolling in courses to practice speaking Japanese with others. Interaction in real-life situations helps reinforce what you’ve learned and builds confidence.

Myth 3: Japanese Grammar is Incomprehensible

Japanese grammar is quite different from English, so it may seem intimidating at first. But once you get the rules, it is also very logical and consistent.

For example, Japanese sentences often take on an SOV (subject-object-verb) order instead of SVO (subject-verb-object) as in English. Again, this may sound unnatural at first, but with practice, it becomes very easy. Japanese doesn't have the irregularities that English has regarding verb conjugation or exceptions to pluralization.

Fact: Learning Japanese Opens Doors

The linguistic barriers involved with the process of learning Japanese open a door for more opportunities. For instance, one gets access to all the Japanese traditions, including tea ceremonies, calligraphy, and anime/manga. From a professional perspective, knowing Japanese puts a person in a favorable position when it comes to opportunities in careers in the technology, tourism, and international business sectors.

Also, learning Japanese introduces you to native speakers and enables you to connect with those who have the proper insight into the culture, in terms of deepening personal growth.

How to Learn Japanese

Start Small: First, learn hiragana and then katakana before stepping up onto kanji.

Use Technology: Vocabulary and grammar apps can make things easier.

Practice Everyday: Frequency is the only way to improve your retention capabilities.

Seek Instructions: Take a class at the best Japanese language school or find a tutor.

Submerge Yourself: Listen to Japanese media and practice speaking with native speakers.

Breaking the Myths

Although Japanese does not make it any easier, the language is still possible to master. The difficult aspects come about due to how it contrasts with the English language, yet that contrast also provides the beauty of studying it, as every learning process comes to be very thrilling and rewarding.

At LTL Language School, our focus is the immersion and efficiency of learning in place. Whether one is just a beginner or hopes to master Japanese, there will always be some help along the way. Visit our website to learn more! 

[studyjapanese01]

How to Master Japanese Language Through Immersion Techniques

Mastering the Japanese Language can be both a challenging and rewarding journey. Among the most effective ways to achieve fluency is through immersion techniques. Immersion allows you to learn the language in a natural, context-rich environment, simulating how native speakers acquire their linguistic skills. In this guide, we’ll explore how you can use immersion techniques to master the Japanese Language effectively and efficiently.

What is Language Immersion?

Language immersion is a method of learning where you surround yourself with the target language as much as possible. By constantly interacting with the Japanese Language, you improve your listening, speaking, reading, and writing skills in a more organic manner compared to traditional study methods. Immersion can be achieved by living in Japan or creating a language-rich environment at home.

Benefits of Immersion in Learning Japanese Language

Contextual Learning: Exposure to real-life situations helps you understand how the Japanese Language is used in context.

Enhanced Retention: Constant repetition and exposure improve memory retention of vocabulary and grammar.

Cultural Understanding: Immersion introduces you to Japanese culture, traditions, and nuances, which are integral to mastering the language.

Natural Pronunciation: Listening to native speakers regularly improves your accent and intonation.

Strategies for Immersing Yourself in the Japanese Language

1. Live in Japan

The ultimate immersion experience is living in Japan. Being surrounded by the Japanese Language daily accelerates your learning process. Here’s how to make the most of your time:

Engage Locally: Participate in community activities, attend language exchange meetups, and interact with locals.

Work or Study: Enroll in a Japanese school or secure a job that requires you to use the Japanese Language regularly.

2. Create a Japanese Environment at Home

If living in Japan isn’t an option, you can still immerse yourself in the Japanese Language at home:

Watch Japanese Media: Stream Japanese movies, anime, or TV shows with subtitles to improve listening comprehension.

Listen to Japanese Podcasts and Music: Surround yourself with spoken Japanese during commutes or daily routines.

Set Your Devices to Japanese: Change the language settings on your phone, computer, and apps to practice daily.

3. Practice Speaking Daily

Speaking is a crucial aspect of mastering the Japanese Language. Practice daily by:

Joining Language Exchange Programs: Connect with native Japanese speakers online or in person to practice conversation.

Talking to Yourself: Narrate your day or describe what you see around you in Japanese to reinforce vocabulary.

Hire a Tutor: Work with a professional tutor who can provide feedback and guidance.

4. Immerse Through Reading and Writing

Read Japanese Books and Articles: Start with children’s books or manga and progress to newspapers and novels.

Write Daily: Keep a journal in Japanese to practice sentence structure and kanji.

Use Flashcards: Create flashcards for new words and phrases to reinforce memory.

5. Attend Immersion Events

Look for immersion-based programs or events that focus on the Japanese Language:

Language Retreats: Join intensive language programs that emphasize speaking and listening.

Cultural Workshops: Participate in workshops on Japanese cooking, calligraphy, or tea ceremonies to learn vocabulary related to these activities.

Overcoming Challenges in Japanese Language Immersion

Initial Overwhelm: It’s normal to feel overwhelmed at first. Start with manageable tasks, like learning 10 new words a day.

Consistency: Immersion requires consistent effort. Set aside dedicated time daily for your language practice.

Fear of Mistakes: Embrace mistakes as part of the learning process. The more you use the Japanese Language, the more confident you’ll become.

Combining Immersion with Structured Learning

While immersion is powerful, combining it with structured learning can enhance your progress. Consider enrolling in formal Japanese classes, using language apps, or studying textbooks alongside your immersion practices.

Conclusion

Mastering the Japanese Language through immersion techniques is an enriching way to achieve fluency. Whether you’re living in Japan or creating an immersive environment at home, consistency and active participation are key. By integrating these strategies into your daily routine, you can unlock the full potential of immersion and take your Japanese skills to new heights.

[maziijapanese]

Effective Ways to Self-Practice Speaking Japanese

Learning to speak in any language is a hard part for learners, especially for self-study learners. Normally, having a learning partner or teacher could help you improve your speaking skills very fast and practice active vocabulary. However, if you can’t find a partner or you’re afraid of making new friends, maybe my tips will help you.

1. Recording

It can be challenging to know if we're pronouncing words correctly since it's difficult to assess our own speech objectively. Even if we think we're saying something correctly, it may sound entirely different to others. This is because we're unable to judge our own voices when we speak. However, by recording ourselves and listening to the playback, we can more accurately identify both correct and incorrect pronunciation. Nowadays, it's very easy to record ourselves thanks to modern technology.

I know, it can be embarrassing to hear yourself speaking Japanese. I think that my voice is really awkward and funny, which could enhance my fear of speaking. But if we don’t do it, we’ll never get better in Japanese. Additionally, when listening back, you can compare your voice to that of a native speaker to identify differences and adjust your pronunciation accordingly.

Recording also helps you track your progress over time. You can save recordings from when you first started learning and then listen to them again after a few months of practice to clearly see your improvement. This can motivate you to keep learning.

2. Speaking to Yourself

It’s ideal to have a proper conversation with others, especially native speakers. But if you can’t find anyone or simply don’t want to bother others, you should imagine a conversation for yourself. Come up with any questions on various topics and answer them systematically. The questions should be asked in Japanese too.

Speaking to yourself not only helps you practice vocabulary and grammar but also boosts your confidence in speaking. When you can have a fluent self-conversation, you'll feel more comfortable when communicating with others. Start with simple questions and answers, then gradually move on to more complex topics.

You can also apply this method to daily activities. For example, when you go shopping, imagine asking the seller about prices or product quality. When you're at home, imagine explaining a recipe to someone else. By incorporating speaking practice into real-life situations, you'll find learning Japanese more enjoyable and practical.

3. Shadowing Method

You have to imitate a part of the conversation in this method. For me, I usually watch my favorite movies or anime and choose a part of this to mimic. This method helps me to have the intonation of a native speaker.

The Shadowing method not only helps you improve pronunciation but also familiarizes you with the natural speed and intonation of native speakers. When starting, you can choose short and easy-to-understand dialogues. Listen carefully to each word, pronunciation, intonation, and rhythm of the speaker, then try to mimic as accurately as possible.

As you become comfortable with short dialogues, challenge yourself with longer and more complex ones. You can also record your Shadowing practice to compare with the original and adjust accordingly. Besides movies and anime, you can use dialogues from news, TV shows, or even speeches.

Another benefit of this method is that you can naturally learn new vocabulary and sentence structures. When you repeat dialogues, vocabulary and grammar will automatically embed in your memory.

4. Singing

Of course, we can’t rule this out. This is the most relaxing way to not only learn Japanese but also relieve stress. Learning Japanese through songs not only helps you relax but also familiarizes you with Japanese music and culture.

Singing Japanese songs helps you improve pronunciation and intonation naturally. When singing, you'll pay attention to how each word is pronounced, how sounds connect between words, and the rhythm of sentences. This helps you speak Japanese more fluently and naturally.

Additionally, songs often have catchy melodies, making it easier to remember vocabulary and sentence structures. You can start with simple and easy-to-understand songs, then gradually move on to more complex ones. Try singing along with the lyrics and understand the meaning of each line.

You can also search for karaoke songs on YouTube or karaoke apps to practice. This not only improves your speaking skills but also brings joy and interest to your learning process.

5. Don’t Forget to Listen Along with Speaking

Of course, you have to listen to know the right way to speak, especially when you learn grammar or new words. Using applications providing Japanese audios is suitable. There are many applications like that.

Listening is an important part of learning to speak. When you listen, you learn how to pronounce, intonate, and use vocabulary in different situations. Listen to various sources like movies, music, news, or daily conversations to get used to different voices and intonations.

When listening, try to pay attention to the pronunciation of each word, how sounds connect between words, and the intonation of sentences. Repeat what you hear to practice pronunciation and intonation. You can also take notes of new vocabulary or interesting sentence structures to learn more.

Besides listening, you should also practice speaking regularly. Try to repeat what you hear to improve your speaking skills. You can also record your practice to compare and adjust.

Practicing speaking Japanese requires time, effort, and dedication. By practicing every day, you can improve your speaking skills and achieve your language goals. I hope you all will achieve your goals.

[tadeadshihamurder]

家主 （やぬし）＝landlord/landlady (N)

の = particle that links two nouns together; allows the first noun to modify the second noun -- in this case, shows possession (AのB can be translated as A's B)

新しい（あたらしい）= new

お店（おみせ）= polite way to say "store"; note that "store" is normally just 店（みせ）, but to show deference/politeness to the landlady's store, J-san attaches the prefix お〜 to the beginning

altogether, the above four words form a noun phrase (NP 1):

家主の新しいお店 やぬし　の　あたらしい　おみせ [the landlady's new store]

CMO = chief marketing officer

に = destination-marking particle; in this case used with the verb なる (to become) to form the construction (X)になる -- to become (X)

なって = 〜て form of なる, to become -- the て form is used in this case to introduce the auxiliary verb やる

やる = to give -- to a non-human or to someone lower than you in status

note: 〜てやる means "to [do something] as a favour", but is mostly used in casually-spoken japanese; so なってやる means "to become for you"

です = can be translated as "to be"; attached to adjectives and nouns to form the polite ending

putting everything we have together so far, we form a clause (which i'll denote as TP, which means "tense phrase", because a clause has to indicate a tense)

[家主の新しいお店]のCMOになってやるです [やぬし　の　あたらしい　おみせ]　の　CMO に　なって　やるです [NP 1] の　CMO に　なって　やるです

this translates roughly to i'm going to become the CMO of the landlady's new store.

(the future tense here, because non-past sentences can be interpreted as present or future, and it's often more natural to interpret them as future)

note on politeness: note here that J-san's cat vernacular comes out here -- やるです is an attempt at creating the "polite" sentence structure, but it's not considered correct. a native speaker would produce this as やります, where /-imasu/ is the verb ending that makes a verb "polite". です is used to make adjective/noun complements (or, in spoken japanese, verb structures that end with 〜い) into their polite forms, but it's not right to apply it to the plain form of a verb!

this is an example of overgeneralization -- when someone acquires a certain grammatical structure in a language and begins to use it outside of the correct context, resulting in ungrammatical speech (e.g. a child who has acquired the -ed rule for past tense in english may try to say things like 'eated' and 'runned'). we use this as an argument for the idea that language is generative -- as we acquire language, we naturally generate sets of rules in our head that govern how that language works and allow us to apply these rules to new linguistic contexts!

ので = therefore, so -- used to explain reasoning or logical consequence; connects two clauses, [Clause]ので[Clause]

ギャランティ= guarantee; an appearance or performance fee

よこせ = command form of よこす (to hand over) -- not very polite; translates to "hand it over" [note: to form the command form for consonant-ending stem verbs like /yokos+u/, replace /u/ with /e/, so the command form of /yokosu/ is /yokose/]

なのです = more "polite"/"gentle" version of なんだ, which is used in commands to bridge a gap of understanding between you and the recipient; often used to give a more dramatic effect to your request (tofugu). this is likely another example of J-san trying to apply a "polite" grammatical structure to an impolite way of saying something -- showing that, as a cat, he doesn't quite have the illocutionary competence (social register, appropriateness) part of language acquisition down, but he understands the idea

the entire sentence then becomes

家主の新しいお店のCMOになってやるですのでギャランティよこせなのです！ やぬし　の　あたらしい　おみせ　の　CMO に　なって　やる　ですので　ギャランティ　よこせ　なのです！ [Clause 1 [NP 1]の　CMO に　なって　やる　です] [Conjunction] [Clause 2 ギャランティ よこせ　なのです！] i'm the CMO for landlady's new store, so give me a guarantee!

[vampireclub7]

I wondered if this would be the right place to ask your thoughts about Baemon’s debut? Absolutely not fishing for a dunk on them, if I wanted that I’d just go on Reddit LOL. More curious where you think they’ll go from here, what your personal thoughts on the song were. Thanks!

***

I listened to Batter Up when it came out but just now tried to recall anything beyond the hook, and I couldn’t remember. That’s how forgettable a song it is for me. I remember also feeling like the MV was entirely unimaginative.

Blackpink’s style of music hasn’t ever really been my cup of tea, and neither was 2NE1’s tbh. It’s not that the music is bad, but it’s very obviously an expression of what a Korean guy thinks American ‘bad bitch’ hiphop is. The song structure is predictable and oftentimes falls flat for me by the time we get to the chanting outro that’s near constant in all YGE title tracks. Anyway, going with an assumption many other people had that Baemon was going to basically attempt being BP but for 4th/5th gen, I had low expectations. Which they met.

YGE right now is experiencing the criminal sentencing of their founder, investors anxious over BP’s renewals, brain drain with Teddy branching out on his own, a Baemon member with a delayed debut that’s rumored to be linked to her n-word scandal, etc. If not for guidance to YG’s investors earlier in September I don’t think Baemon would’ve debuted this year at all, because they are so obviously not ready.

But also, YGE is one of the Big3, meaning the company has spent about 3 decades building a cult-following of millions of k-pop stans who will quite literally always be primed to buy-in, to always tune in, give the music from YG groups several chances, everytime, and inevitably support it.

Even now the primary sentiment I’m seeing is that the group is ‘talented’ and will blow up to dominate with the ‘right song’ which is certainly coming in their next release whenever that is. It’s also telling how, in contrast to NewJeans’ debut when the focus was their ages and their producer/head (a reaction which before I’ve pointed out was abnormal), with Baemon we’re seeing a more ‘normal’ k-pop fandom reaction, where there’s some chatter around their ages but it doesn’t dominate nor overshadow their debut, and neither does the mention that the man who groomed his former trainee and married her, installed cameras in Baemon’s bathrooms, and was recently sentenced to prison which was negotiated to a probationary sentence - despite him being very involved in making the group, his hand in their development isn’t mentioned at all.

So, Baemon will be more than fine. I find it interesting that Baemon is the first girl group in YGE’s history that has more than 5 members, which confirms to me YGE had/has grand plans for Baemon, to sort of fuse BTS and Blackpink together to create a 7-member group with the same tried and true formula that was used on all their prior groups but refined on Blackpink.

In terms of what I expect next:

- I don’t think we’ll get a proper debut until Ahyeon rejoins the group

- A dual-focus on group and individual brand-building, in contrast to BP’s brand strategy which focused on the latter

- Without Teddy producing for them, I’m a bit concerned about their song output tbh. But then again, k-pop stans really do love YGE’s take on ‘swag’ so I guess they’ll be fine.

My opinion on the girls themselves is mixed but Ruka stands out to me only because I’d heard of her back when she was in her Japanese group.