TALES OF THE RAYS: ASCH'S 2ND SKIT (ENGLISH TRANSLATION)
MASTERPOST
This is one of my absolute favorite skits. And, since I couldn't find it on YT anymore, I decided to take things into my own hands to make sure I could never lose it again.
Farah: Oh, Asch! Good morning!
あ、アッシュ!おはよう!
Asch: Oh, good morning, Farah. You seem well-spirited today.
ああ、おはよう、ファラ。今朝も元気だな。
Farah: It’s important to start the day on a high note!
一日の始まりは元気よくしなきゃ!
Asch: Yeah, I guess so. Could you tell me what’s on the menu today?
ああ、そうだな。今朝のメニューは何だ?
Farah: It’s Auldrant Day, so we’re serving food from your guys’ world.
今日はオールドラントの日だからアッシュたちの世界の料理だよ。
[ Luke enters ]
Luke: Really!? That means beef, right!?
マジか!ビーフ出るか!?
Farah: Eating beef for breakfast is kinda—
朝からビーフは――
Asch: You stupid idiot! What’s with that attitude of yours, coming into the mess hall like that! You should at least greet Farah properly!
馬鹿野郎!食堂に入ってくるなり、何だその態度は!挨拶ぐらいきちんとしやがれ!
Luke: Oh, right. Good morning, Farah.
あ、そうだった。ファラ、おはよー。
Farah: Oh, u-um… good morning, Luke. Sit down next to Asch. I’ll bring you two some plates.
あ、う、うん。おはよう、ルーク。アッシュの隣に座って。今プレート持っていくから。
[ Farah Exits ]
Luke: …Well, she told me to, but is it okay if I sit so close to you, Asch?
……って言ってるけど、俺、隣に座ってもいいか ?
Asch: Do as you like.
好きにしろ。
Luke: Asch… you’ve mellowed out…
アッシュ……丸くなったな……。
Asch: I’m not the kind of person who can relax easily, unlike you.
貴様とは器が違うからな。
Luke: That’s because you don’t have a lot of experience…
そういうとこ、器が小さいじゃん……。
[ Farah returns ]
Farah: All right, sorry for the wait. We’re serving a Grand Chokmah-style breakfast today.
はい、二人ともお待たせ。今日はグランコクマ風朝食プレートだよ。
Luke: Ugh…I don’t really like most of the vegetables in this salad…
うわ……サラダに俺の嫌いな野菜が沢山……。
Asch: Don’t complain. She’s making food for everyone in the hideout, not just you.
文句を言うな。アジトの大勢の人間の食事を作ってくれているんだぞ。
Asch: Furthermore, she changed the dressing and cut the vegetables into small pieces so that even someone with a child’s palate can eat them.
しかも、お前みたいな子供舌の奴でも食べられるように小さく切ったりドレッシングに変化をつけたりしてくれているだろうが。
Farah: Hehe, Asch sounds like a father right now.
ふふ、なんかアッシュってお父さんって感じだね。
Luke & Asch: A father…!?
お父さん……!?
Asch: I don’t remember father speaking to me like this…
父上は、こういう感じではなかったが……。
Luke: Oh, but now that you mention it, I remember him saying that kind of stuff all the time.
あ、でも、言われてみれば俺に対してはそういう感じだったぞ。
Asch: That’s probably because you don’t have any sense!
それはお前がだらしないからだろう!
Luke: That’s exactly how father said it, too.
その言い方父上そっくり。
Asch: Ugh…
う……。
[ Luke nudges Asch ]
Luke: Father, can you please eat the octopus for me?
父上ー、俺の代わりにタコ食べてくれよー。
Asch: Eat it yourself! And eat my portion while you’re at it!
自分で食え!何なら俺の分も食え!
Farah: Hey, cut it out, both of you! Food tastes best when it’s freshly made, so knock off the fighting and dig in.
こら!二人とも!料理は出来たてが一番美味しいんだから喧嘩しないで早く食べてよね。
Asch: …I apologize. Luke, you apologize, too.
……悪かった。ルーク、お前も謝れ。
Luke: I know, I know. I'm sorry.
わかってるっつーの。ごめんなさい。
新年初🌅 正月の恒例となってまいりました。 ライブペイントと演奏と温かい汁ものでゆるりとお待ちしてます🎨🎸🍲 2023.1.4 堀川会議室 14〜17時 描き初め 八雄 弾き初め 山内弘太 お汁もの kahu ____________ 八雄 / Hachio @hachio80 絵描き。京都西山の麓にて生まれ育ち、現在も京都を拠点とする。 音楽・農耕・祭事などによる高揚感を伴った体験をベースに2000年頃から活動を開始。 音や光、熱や振動などの空間に発生消滅する信号から、自己の身体感覚を触媒として行う「描く」という行為は自身にとって他者/世界との間における非言語の対話・干渉、或いは純然たる遊びであり、その記録 / 痕跡として「見えざる風景」「形なきもの」を現す。 活動形態は多様なシチュエーションでの即興ペインティングや他ジャンルのアーティストとのセッションを軸に、国内外での滞在型制作、展示、壁画など。 I am a painter, born and raised at the foot of west-mountains of Kyoto Japan and am based on Kyoto now. My activity are impromptu paintings in various situations, session with artists of other genres, resident works, exhibitions, wall paints, and more. It was started from about 2000 with experience of the mental elevation by music, farming, festival. I input from the signal of sound, light, heat, vibration which appeares and disappeares in the space. The act of “Paint / draw” by my own physical sensations, is non-language dialogue, interference or downright play between myself and the others / the world. That show “invisible landscape” and “things without the form” ____________ 山内弘太 | Kota Yamauchi @kkoottaa 1986年生まれ。京都、堀川団地在住。ギタリスト。 即興演奏を中心としたソロ活動をベースに、折坂悠太(重奏)など多くのバンドに参加。咖喱山水とのプロジェクト "Sound Meals" や、堀川会議室での音楽イベント主催、サウンドエンジニアなど活動は多岐に渡る。 ____________ kahu(カフ) @churaco1123 2018.4- コーヒー頼んだらパンとサラダとフルーツが出てくるお店。時々、出張ご飯屋さんも。 (堀川会議室) https://www.instagram.com/p/CmLPBirSeRb/?igshid=NGJjMDIxMWI=
Masashi Kishimoto (Kishimoto): Through the main story of "Naruto," I felt that I was able to depict most of what I wanted to say about the themes of friendship and master-disciple. The only thing that I was still unclear about was the framework of "family". I was also influenced by the fact that I was asked, "What does she (Sarada) have to do with Karin? At that time, I had only a vague idea of her relationship with Karin, and I had no intention of drawing her in any particular detail. But I decided that if I was going to go that far, I wanted to make the story about Karin relevant, so I began to think about the scenes I wanted to show, the theme, and the plot. I thought it would be interesting to develop the story where the audience does not know who the mother is, and since I originally wanted to depict what happened to Orochimaru and the other members of the hawks, I thought that by introducing Karin, they would naturally appear in the story. I also wanted to create a world with advanced science and technology, so I decided to include scientific topics such as DNA analysis in the story. That's how the story of Gaiden was formulated. I had originally planned not to show too much of Boruto, but there were fewer opportunities for them to make an appearance than I had anticipated, which left me puzzled. I had already decided to make the last movie version after the series ended, so I decided to make the son of Naruto and the son’s friends the main characters. I wanted to once again depict what family is all about. I wanted to depict this question once again.
—映画と同時に、0話の外伝漫画の執筆も決まっていたのですか?
—Did you have a plan to write a 0-episode manga at the same time as the film?
Kishimoto: At first, I was thinking of writing a short story for the booklet that would be given as an admission present for the movie. The editorial department told me they wanted to make it about 3 pages, or about the volume of 3 episodes in the series, but that seemed halfway through, so I suggested that if possible, I wanted to make it about 10 episodes. But it was a bonus booklet. I wanted to make the volume as large as 10 episodes, if possible. But in reality, he only appeared in the story for a short time (laughs). I drew Boruto on the cover when the series first started, but secretly I felt quite awkward about it. I was even told by the person in charge that it was a Boruto fraud.
—(笑)。それでもサラダ編はとても好評でしたね。
—(Laughs). Still, the Sarada version was very well received.
Kishimoto: If we didn't get Boruto out and it was boring, it would affect the movie, so there was actually a lot of pressure on us. However, since the number of episodes was limited to 10, I decided to focus on Sarada’s family environment and feelings, and by extension, the gentleman with Sasuke and Sakura, rather than on the appearance of a strong enemy and how they fight, as in the main story. And Naruto would be the one to support her. Thanks to Karin's glasses, the scenario became a complete daytime drama. Some people said it wasn't too "jumpy," but I think that was a good thing because it was fresh and new. We were told that we couldn't make such a large volume of "daytime tiger cubes" as a story, so we decided to serialize it in the main magazine. On the next page of the last story, there was an announcement that the series would resume in the spring, and it was a bit of a bummer (laughs).
—外伝漫画はサラダが主人公ですが、これはボルトが主人公の映画とのバランスを考えた結果ですか?
The manga is about Sarada, but was this done to balance it with the movie in which Boruto is the main character?
Kishimoto: Yes, that's right. After the serialization of the main story was finished, I first wrote the script for the movie, and then started the Gaiden. I wanted to include a scene to show that the movie would be released after the serialization of the Gaiden (laugh), but there was no room for it anywhere, so I gave up on it.
Kishimoto: I had been drawing Boruto and Sarada for fun during the serialization of the main series, so I had a clear image of them from early on. It was easier to draw the final phase if I knew what Naruto with his son would look like. The other children were drawn almost haphazardly just before the final episode. I think the majority of the fans were satisfied with the couplings, but the couple of Choji and Karui was the only one that made people say "Why? (laugh). My guess is that Karui decided on the couple because of his sexual feelings. I imagine there were times when Omoi tried to stop them, saying, "This marriage is a bad idea," but I think he just thought, "It's okay. I think he felt like, "It's okay, isn't it? On the other hand, Choji must have thought this was his only chance, and he took it.
—新世代キャラの中で唯一両親の分からなかったミツキですが、映画『BORUTO—NARUTO THE MOVIE—』でっあの人物。の子供だと判明しましたね。
—Mitsuki is the only one of the new generation of characters whose parents were unknown, but in the movie "Boruto: Naruto the Movie," we found out that he is the child of that person (Orochimaru).
Kishimoto: This is a backstory, but Mitsuki is carrying a very heavy theme. I can't go into too much detail, but.... As the embodiment of a certain social and ethical issue that I am personally concerned about, I thought it would be better to have a connection with Mitsuki, but since Boruto will be front and center in the movie, I didn't want to make him the main character until the outside story. As a result, I made Sarada the main character because when I attended the preview of the movie "THE LAST-NARUTO THEMOVIE-" (released in December 2004), which depicted the beginning of Naruto and Hinata's familiarity, I was told that they wanted to see the next one about Sasuke and Sakura's familiarity. At the time, I jokingly replied, "It's pretty messy, but do you still want to know?" But he said, "But I still want to know. On another occasion, I was invited to appear on Kendo Kobayashi's show. Naruto" is an entertainment work, so I don't go into the issues themselves, but the short story and the movie contain many things that I've been thinking about recently.
Kishimoto: In the film. In the film, there is a tool called "Scientific Ninjutsu," which allows anyone to easily use advanced ninjutsu. At first glance, it is very convenient, but on the other hand, it is something that totally negates effort, experience, and accumulation. I feel that it is strange to see people just getting results without paying for them, and to take it for granted, so I wanted to raise this issue in some way. I wanted to raise this issue in some way. In reality, this is becoming more and more common. For example, from the standpoint of a cartoonist, the leaking of one's own cartoons on the Internet is one such example. Not only in manga, but also in games and video works, I feel a sense of crisis that the works that creators have spent their minds, bodies, money, and time to finally put out into the world can be easily copied and consumed. I am concerned about whether the next generation of creators will be nurtured in such an environment, and I also think that eventually no one will be creating content at all. So, effort, accumulation, and experience are absolutely important," was one of the things I wanted to say through the film.
Kishimoto: I'm sorry. I got sidetracked and said something heavy (laughs). But it's basically "Naruto," so you can be sure that it's full of entertainment and action! Please watch it with peace of mind.
週刊連載は無理でも次回作は着々と準備中
Even if a weekly serialization is not possible, the next work is steadily being prepared.
—With the end of the Gaiden serialization and the release of the movie, "NARUTO" is finally in its final phase. I know there are many fans who still want to see more.
Kishimoto: "Naruto" has come to a complete end for me. I don't think I will be drawing "Naruto" as a weekly series in the future. The hardest time for me was when I was working on the Gaiden manga. Actually, the last part of the main series was also physically very hard, but I managed to finish the last episode with all my strength. I was finally released from the six years of weekly serialization, and my mind was at peace. I knew that I would be in trouble if I had to write 10 more episodes of the Gaiden on top of that, but when I tried it, it was harder than I had imagined. Moreover, I had blanked out for several months while I was working on the script for the movie, so when it came time to draw the manga, I had completely forgotten how to draw it and was like, "What? How do you draw a manga? (laugh). I started out like a rookie and gradually remembered how to draw, but even though I started with plenty of time to spare, I could not meet the deadline at all. In that sense, the 10 weeks of Gaiden were more mentally and physically demanding than the 6 years of serialization.
ーでは、今また週刊連載をするのは難しいと。
—So, it would be difficult to do a weekly serialization again now?
Kishimoto: It is absolutely impossible. I have the desire to draw manga, but I can't imagine myself being able to meet deadlines for a weekly serialization (laughs). I don't want to force myself to do it, because I know that I would cause trouble for many people.
—月1回など、不定期連載という手法は?
—What about irregular serialization, such as once a month?
Kishimoto: I long for that kind of style, because with electronic media such as Shonen Jump+, for example, there are variations in the number of pages and publication intervals for each work. However, now that I finally have more time, I would like to be stimulated by many works of entertainment and art. I would like to get into something again, just as I was shocked by "Akira" when I was a student.
Kishimoto: No, only manga is tough because I just can't get into it from the reader's point of view. I can't just enjoy an interesting manga. For example, I can't read "HUNTERXHUNTER" with a proper mind if I think I'm fighting against Togashi-sensei. If I read it honestly, it would be too interesting to be scary. But you have to do it with the intention of winning. As a manga artist, even if you are a newcomer, I think you need to have that kind of attitude and spirit. That's why I absorb things outside of manga. I would also like to try my hand at design and illustration work, which I have turned down in the past due to lack of time, if the opportunity arises.
—それでは次回作についてはまだまだ未定という感じですね。
—So you are still undecided about your next project?
Kishimoto: Well, I already have an idea for my next work. I've been thinking about various ideas since the serialization of "Naruto," and I'm planning to draw a science fiction work next. I haven't shown it to the person in charge of the project yet because I haven't finalized the whole thing yet, but I've already finalized the character design. I think the main character is unlike anything I've ever done before, and I can't say it myself, but I'm feeling a good response (laughs). (laugh) I have drawn a few read-aloud manga in addition to "Naruto," and I have realized the gap between what I want to draw and what readers are looking for, so this time I am going to do it with a lot of thought. Naruto" was an unexpected hit, so I would like to aim for a hit next time. I don't know yet when I will be able to announce my "next work," but I intend to surpass Naruto, so please wait and see.
These croquettes are wild. The name alone took me on a journey. Ahem...
アボカド入りポテト生地で
Avocado in a potato dough
たまごサラダを包みました
with egg salad wrapped up inside
(マヨネーズで和えた)
(seasoned with mayonnaise)
Why is the supermarket selling this? If the only things I had in my fridge were avocado, potato, egg salad, and bread crumbs, this is still not what I would make! Can you imagine deep-frying egg salad? What is happening in the world?