This week’s initial tentative super rough/literal translations under the cut.
1
このままいけばあなたは敵と対峙し
このままいけばあなたはヴィランとたいじし
kono mama ikeba anata wa VIRAN to taiji shi
If you continue like this, you will face a villain
2
言い表せようもない程…凄惨な死を迎える‼︎
いいあらわせようもないほど…せいさんなしをむかえる‼︎
ii arawaseyou mo nai hodo...seisan na shi wo mukaeru!!
and die an unspeakably...gruesome death!!
tagline 1
かつて、相棒が視た未来ーー
かつて、ナイトアイがみたみらいーー
katsute, NAITOAI (kanji: aibou) ga mita mirai--
Once before, the future that Nighteye (read as: his partner) saw--
tagline 2
No.404 大好き‼︎オールマイト‼︎ 堀越耕平
ナンバー404 だいすき‼︎オールマイト‼︎ ほりこしこうへい
NANBAA 404 daisuki!! OORU MAITO!! Horikoshi Kouhei
No. 404 We love you!! All Might!! Kouhei Horikoshio
3
風が
かぜが
kaze ga
The wind
4
吹いていた
ふいていた
fuite ita
was blowing.
1
今日はパイでもつくろうか
きょうはパイでもつくろうか
kyou wa PAI demo tsukurou ka
"Shall we make some pie today?"
2-3
遠くの危より今日の締切じゃボケ!
とおくのきよりきょうのしめきりじゃボケ!
tooku no ki yori kyou no shimekiri ja BOKE!
"Today's deadline is worse than some distant danger, idiot!"
4
気流がおかしい…
きりゅうがおかしい…
kiryuu ga okashii...
"The wind stream is strange..."
5
メリルさっきの放送事故
メリルさっきのほうそうじこ
MERIRU sakki no housou jiko
"Meryl's broadcasting blunder from earlier"
6
もうアップされてる
mou APPU sareteru
"has already been uploaded."
7-8
今後ジェット気流に乗ってーー北米にも影響を及ぼす可能性があります
こんごジェットきりゅうにのってーーほくべいにもえいきょうをおよぼすかのうせいがあります
kongo JETTO kiryuu ni notte--hokubei ni mo eikyou wo oyobosu kanousei ga arimasu
“From here on, there is a chance it could ride a jet stream and affect North America as well.”
9
マルティンごはんよー
MARUTIN gohan yoo
"Martin, food!"
10
オールマイト…
OORU MAITO...
"All Might..."
11
死んじゃやだな
しんじゃやだな
shinja ya da na
"I don't want him to die."
1
小僧!
こぞう!
kozou!
"Kid!"
1
再び"変速"を発動すれば今度こそ反動からは逃れられん!
ふたたび"へんそく"をはつどうすればこんどこそはんどうからはのがれられん!
futatabi "hensoku" wo hatsudou sureba kondo koso handou kara wa nogareraren!
"If you activate Gear Shift again, you won't be able to escape from the backlash this time!"
2
勝ち筋を見出してからでなければーー…
かちすじをみいだしてからでなければーー…
kachisuji wo miidashite kara de nakereba--...
"Unless we find a way to win--..."
3
おまえの中のオールマイトがーー
おまえのなかのオールマイトがーー
omae no naka no OORU MAITO ga--
"The All Might inside you--"
4
曖昧な姿だったのは本人がまだ生きていたからじゃないのか?
あいまいなすがただったのはほんにんがまだいきていたからじゃないのか?
aimai na sugata datta no wa honnin ga mada ikite ita kara ja nai no ka?
"Isn't the reason why he looked so unclear because his real self was still alive?"
5
それが今形を成し始めているのはそういう事じゃあないのか?
それがいかたちをなしはじめているのはそういうことじゃあないのか?
sore ga ima katachi wo nashi hajimete iru no wa sou iu koto jaa nai no ka?
"Isn't that why he's starting to take shape now?"
1
世界に夢を見せた男の死で
せかいにゆめをみせたおとこのしで
sekai ni yume wo miseta otoko no shi de
"With the death of the man who showed a dream to the world,"
2
夢は現実に還るんだ
ゆめはげんじつにかえるんだ
yume wa genjitsu ni kaerunda
"the dream will return to reality."
1
誰かの握った拳が
だれかのにぎったこぶしが
dareka no nigitta kobushi ga
Someone's clenched fist...
2
誰かの吐息が
だれかのといきが
dareka no toiki ga
Someone's long sigh...
3
あなたが殺される…未来を変えたくて
あなたがころされる…みらいをかえたくて
anata ga korosareru...mirai wo kaetakute
I wanted to change the future...where you will be killed,
4
変える術を探ってきた…
かえるすべをさぐってきた…
kaeru sube wo sagutte kita...
so I have been searching for a way to change it...
5
…エネルギーなんじゃないか…と思うんだ…
…エネルギーなんじゃないか…とおもうんだ…
...ENERUGII nanja nai ka...to omounda...
...It's some sort of energy...I think...
6
己が強く望む未来…
おのれがつよくのぞむみらい…
onore ga tsuyoku nozomu mirai...
A future for which I wished strongly...
tagline
ただの鼓舞ではない、その叫びは確かな決意‼︎
ただのこぶではない、そのさけびはたしかなけつい‼︎
tada no kobu de wa nai, sono sakebi wa tashika na ketsui!!
It's not just for encouragement, that shout is certain determination!!
(Below is a cleaned up machine translation. Please note that due to the nature of machine translation, the text may not be wholly accurate or may read oddly. Japanese is included after English for reference. The text was lifted from the images using this site, and though there's been care taken to make sure everything is correct, there is a chance of unintentional typos.)
With the Only one prince + superb honeymoon in paradise♡
Only oneの王子様と+楽園で極上ハネムーン♡
▼ Spade offers a handkerchief to Joker, who is soaking wet from the rain. Phoenix is in a panic because of the rain, which he doesn't like!
Joker dressed up as a woman to participate in the World Bride Grand Prix. The exotic dress suits him ♪
世界花嫁グランプリ出場のため、ジョーカーが女装した姿。 エキゾチックなドレスがお似合い ♪
--Producer Mabuchi Yoshiki Interview
Joker and new characters such as Phoenix (Akai Tsubasa) and members of the "Devil Fang" organization led by President D continue their unpredictable adventures in "Kaitou Joker" Season 3. I'm sure your hearts are racing with excitement, but how about another thing that makes your heart flutter♥
This time, we have a fantasy of newlywed life with Joker and friends ♪ We also have special cooking tips for the future brides. Of course, the excitement will be even more intense in the full-length anime! We received the following secret information from producer Yoshiki Mabuchi of Shin-Ei Animation! The main highlights are Phoenix and Hosshi. Their mysteries will be gradually revealed during the 16 episodes between Season 3 and the upcoming Season 4. In Season 1 and Season 2, the story was rather complete, but in Season 3 and Season 4, the mystery will be solved by watching all the episodes. Also, the tricks this time were supervised by a real magician, RYOTA, who came up with the ideas for the tricks.
Let's explore the charms of Season 3 from various angles, such as the concepts of new characters and the event report manga, with Producer Mabuchi still with us. ♪
Tsubasa: "Hm, I've never cooked before… Well, here's the question: if I were to cook, what would it be? 1. Super spicy curry, 2. Super spicy mapo tofu, 3. Konpeito Southern Cross style (very spicy). By the way, I like very spicy food."
Spade: "I guess it's hard to decide between cooking and eating. Dark Eye makes delicious food, so I leave it up to him, but when I'm stuck in a writing dilemma, sometimes I just make French food."
Mabuchi P big prediction★
What if you let the phantom thieves do your housework!?
馬渕P大予想★
怪盗たちに家事を任せるなら!?
Joker
"Likely has the ability to select good things, so it could be shopping."
ジョーカー
「良い物を選別する力 があると思うので、 ショッピングでしょうか」
Hachi
"All the housework. He's the ideal wife that everyone wants (laughs)"
ハチ
「家事すべて。 もはや 誰もが欲しがる、 理想の嫁ですね (笑)」
Phoenix
"He's sleeping all the time, so I feel like he's going to be a lazy house-husband (laughs)"
フェニックス
「ずっと寝ているので、 ダラダラした主夫になりそうです (笑)」
Shadow
"He seems to take good care of people, so I guess it would be picking up the kids and taking out the trash."
シャドウ
「面倒見は良さそうなので、子どものお迎えやゴミ出しでしょうか」
Spade
"He's also a novelist, so perhaps he might not do well with housework."
スペード
「小説家もやっている ので、家事向きではないかもしれないですね」
--Mini Talk
Reverse Proposal Tips! Phantom Thief Mini Talk ♪
What gift makes you happiest?
逆プロポーズのヒント!? 怪盗ミニトーク♪
プレゼントされて一番嬉しいものは?
Joker & Tsubasa: "A game!!"
Spade: "You guys are so in-tune…"
Joker: "No way! Okay, if you like games, let's play an action game!"
Tsubasa: "That sounds fun!"
Spade: "I'll pass. You really do like that sort of thing, you're like children."
Tsubasa: "You just don't like losing, do you?"
Joker: "Yeah, right!"
Spade: "That isn't the case! Fine then, let's do it!"
Wings: "By the way, what's an action game?"
Joker & Spade: "Eh……"
Mabuchi P's Big Prediction ★
What kind of brides will the female phantom thieves be!?
"Queen is rough around the edges and wants to do the housework but often fails. She will need someone like Roko to follow her through. Ai is versatile, and she also cooks when in her Dark Eye form, so I think she will make the best bride. Rose seems surprisingly caring; However, she has been asleep for a long time, so I think she will be studying and learning modern common sense."
The characters are fundamentally the same as in Seasons 1 and 2, but we asked Miho Shimogasa to design them with a slightly more adult or "cool" look in mind. Phoenix, Hosshi, and "Devil Fang" became the main characters at the suggestion of director Yukiyo Teramoto and series director Dai Sato. Originally, the original author, Hideyasu Takahashi, had an idea for the Phoenix and the Divine Beast, and we pulled the concepts from a rough draft of that idea. There are still many mysteries about President D, but by creating an organization called "Devil Fang" and having rival thieves belong to it, it became easier to bring out various characters in the anime. There are many fascinating characters in the original story, and we want to include them in the anime as much as possible.
In Season 3, you seem to have included a number of concepts that are original to the anime.
Yes, that's right. The concept of Hosshi eating treasures and laying eggs, where key items of the story come out of, is also an original concept of the anime. On the other hand, Akai's three-choice questions are a concept that existed in the original story, and we decided to make use of it in the anime as well, so Akai always says the three-choice question every time he appears in the story. Mr. Sato raised the bar himself, saying, "I want the questions to rhyme nicely" (laughs). He had a hard time thinking about it.
Speaking of originality, Kaneko transformed into a murderous woman in episode 30. I was surprised because this was an idea that Director Teramoto had mentioned in the August 2015 issue of Otomedia.
It was an idea that Director Teramoto had been working on for a long time. The transformation scene was quite forced, but since it was a gag episode, I thought it would be okay (laughs). The next episode, episode 31, "Shadow and Eyes and Fakes" was also a gag episode, and everyone on the staff wanted to do it. Shadow also made an appearance for the first time in a while, and he too became more of a gag (laugh). We also introduced Fake Silver Heart and fake Roko, who were not in the original work. Fake-Silver is a robot and Fake-Roko is a skunk. In the original, Fake-Queen is the character who farts, but in the anime, we switched that concept to Fake-Roko. The cast is also spectacular, with Kenichi Suzumura as fake Joker, Toshiyuki Toyonaga as fake Spade, and Kaori Nazuka as fake Queen. The casting was done after asking Ayumu Murase, who plays Joker, who he would like to play a fake version of his character.
The opening and ending sequences were just as impressive as the previous and the OP was storyboarded by Takashi Otsuka, who also directed the previous season's OP, to match Arukara's "Miracle Shounen Boy 2" with an emphasis on coolness. Tasuke Inamura, the vocalist of Arukara, came up with the idea for the intro of the song, which includes the call "Hachi!" The ED is innovative, with Joker in red and the Hachi in blue, each running on a road in their image color. The ED is sung by Fuki Commune and fits perfectly with the song "Welcome to the Shining Night!"
What are the upcoming episodes and characters?
There are stories featuring DJ Peacock and Ali Baba. Stay tuned for a rendition of "Ali Baba and the Four Detectives." The story of Rainbow Justice will also involve the Devil Fang. In addition, watch for the original anime episode "The Sky Joker in Peril"! The story and tricks are completely original, and it takes place on Joker's airship, the Sky Joker. You will also see Joker's treasure room and learn about the inside of the ship.
Grief as concept in The Gazette's 'Dark Age' - Part 3
Part 1
Part 2
The last three songs from Dark Age represent the fifth stage of the Kübler-Ross and Wright model—acceptance, or as Wright puts it, “the upward turn". This is apparent in the pace and melody of the songs: they revisit previously introduced themes and keywords, but with altered emphasis and arrangement, sometimes changing their significance.
DEUX already starts with a very powerful opening line: 答えは絶望の淵で 不可逆 夢落ち願う, "the answer is irreversibly in the abyss of despair, I wish this were just a bad dream". Grief has entered the "consolidation" phase, and everything that seemed uncontrollable (death) slowly gives way to controlled remembrance. The intensity of physical and mental symptoms of grief decreases, yet an unforeseen circumstance or trigger can still draw the mourner back into emotions they thought they had already dealt with.
This is exactly what happens to the narrator of DEUX: although they would like to wake up from the dream of their life burdened with loss into a happy reality, the opposite happens: they dream of the deceased, then wake up from it (You're my enemy / 逆夢喰らい示す, "you're my enemy / as you tantalize with false dreams"). The lyrics here include the word 逆夢 (sakayume), translated as “reverse dream”, appears in our culture: it's a folk belief that dreaming of someone's death means they will live a long life.
Therefore, the person who appears living in the reversed dream is dead in reality and does not let the living person rest (寡黙と眠る夜が怖いのは誰の所為?, "whose fault is it that the silent night and sleep are frightening?"), the mourner endeavors to navigate through the altered circumstances (行き場断たれ迷い 自我境界破れて 心が壊れてしまった, "I've lost my way, the boundaries of my personality have been torn apart, my heart is broken"), and there is a faint, cautious desire for the shared past to continue in a transformed shared future (君と僕は 底無しの闇に朽ちる - "you and I rot in bottomless darkness", 後は踏み出すだけ/ もう迷わない – "there's nothing left, I have to take a step forward / I can't hesitate anymore").
The second to last song, the slow, the slow, nearly lullaby-esque OMINOUS, reintroduces the notion familiar from DEUX, the "reverse dream": the mourner seeks to drift back into slumber ("Sleep...Count me down...Again") to meet the person they lost (さぁ目を閉じて/ 向かおう – "and (as) I close my eyes / I turn towards you"). However, the deceased person in the dream is restless, struggling with nightmares (悪夢と舞う君を見る – "I see you dancing with nightmares"), and n this instance, it's the mourner attempting to soothe the deceased (忘れないで / 心は死なない / 忘れないで / そう 夢は逆夢, "don't forget / the heart is immortal / don't forget / dreams sometimes lie"), almost implying: don't worry about me, your nightmares about me are not real, I will be fine now, rest peacefully.
The conversation with the departed and their reassurance that life can evolve in a different manner isn't yet tangible reality; it's more of a self-encouragement. The pain and loneliness caused by grief are still part of the present, the constant change—the constant cycle of life and death (流転, ruten)—is conceivable to the mind but not to the heart. The last verse beautifully expresses the pain that, despite the realization, remains in the survivor's soul like a constant, dull presence: 形無き明日を奪う 踏み出す度 / 翳る空で何も見ない / 悲しみに自分を殺し叫ぶ声は / 何も救えない – "every time I take a step forward (to the constant change) it steals the formless tomorrow / I see nothing in the dark sky / I kill myself with loneliness and shout in sadness / but no one can save me".
The final song of Dark Age, also its magnum opus, UNDYING, begins with the same themes with which OMINOUS ended: loneliness, insomnia, and hopelessness ("Sleep, count me down, again / I won't arise from this", 残された唯一 禍いと廻る未来 – "the only thing left, spreading misfortune"). However, as much as it seems like grief has pushed the mourner back to square one, and everything starts anew, the use of the term "Undying" already show signs of a later stage of oscillation. The apparent setbacks or emotions re-emerging due to external influences, as painful as they may be, are just as natural. In the final moments of wakefulness, the mourner seeks the building blocks of their new identity ("不透明な事実指し 何を信じ 何願う – "pointing to uncertain facts, what can I believe, what can I hope for?"), when the dream weighs upon their eyes, and in the countdown, all essential conflicts of grief appear:
After confronting each of the thoughts that appear one after another or simultaneously in the grieving process, each reinforced by the other, in a continuous feedback loop, the mourner remembers the refrain of DOGMA ("I deny all of it"), then the refrain of OMINOUS, but in a new context: “Sleep, count me down 死と踊り” ("dancing with death") / “Count me down, again さぁ終われ” ("come on, let's finish this"), and poses the question: "Have I changed?" (俺は変われたか?)
Indeed, something has changed as the experience of loss has become part of the identity, and this consolidation is reflected in the final lines of the lyrics: 終わりを見ても / 許されぬ願いに夢を見た / この眼は今もまだ / 今もまだ, "even if I see the end / I dreamed of unforgivable hopes / and these eyes still see / even now." The unforgivable desires (wishes, prayers) peak in the two English lines of the song: "Life, don’t change my fate / God, entomb my hate", and despite how ominous these words may seem, they still inspire hope.
The concept of fate in regard of grief was introduced by INCUBUS. The desire for life not to overshadow our destiny —shaped by the life of the departed, their absence, and their continued existence within us —describes the state where the bond with the deceased is redefined. Their absence has become part of life, thus forming a kind of constant, eternal, unchangeable (undying?) presence.
Our second plea to God (with whom our relationship throughout Dark Age has been turbulent, as we've only clashed with him) is a prayer seeking the divine to lay to rest our "hate" (our anger), allowing us to bury all negative emotions aimed at others and ourselves, emotions that only tear down rather than construct. These lines express the yearning for rebuilding, hope, and ultimately, the acceptance of reality.
Final thoughts
It doesn't necessarily imply from the above that grief, as both an event in life and a personal encounter, has been fully dealt with, despite the melodies and lyrics of the subsequent albums, NINTH and MASS, signifying a more positive phase.
What I consider crucial to emphasize, not strictly tied to the examination of Dark Age, is directly linked to the positive phase of grief, known as the consolidation phase: while losses cannot be reversed, one can shape a self-image, a narrative that incorporates the loss into the mourner's identity.
There isn't a definitive "right" or "wrong" way to grieve – grief, as mentioned earlier, is a natural, almost instinctive reaction we have to loss. The mourner inherently understands their needs: whether it's solitude and seclusion, or perhaps companionship, community. Perhaps the only "incorrect" approach to grieving is when the oscillacion process is impeded: if the person who suffered the loss remains fixated solely on it’s negative effects (unable to let go of the deceased and the mourning state, becoming engulfed, unwilling to feel anything but sorrow), or exclusively focuses on restoration (organizing their life, forcefully moving forward, rejecting the memory of the deceased and their connection, merely striving to feel "fine" again).
The compositions of Dark Age can be aligned with both the phased, gradual grief theories and the dual-process model. As dark and distressing as they might seem, these songs actually demonstrate a healthy, evolving grief that eventually leads us out of the darkness.
I trust that those who listen to the melodies of Shikkoku discover solace within them and uncover the concealed, encrypted message: that before dawn, the darkest hour arrives, but from these bleak times (Dark Age), the hope we have lost returns (Blinding Hope, Last Song) and eventually guides us back to the light ("Come back to the light").
Disclaimer
I want to emphasize that I am not an expert in the field of grief, nor am I a therapist or a certified grief counselor (at least not yet). This analysis serves as an overview of how The Gazette's Dogma-era represents grief, and its purpose is to hopefully provide solace to readers by offering support and reassurance that whatever emotions they may be experiencing are entirely normal. It's important to note that the original essay was written in my native language, and while I've used machine translation and AI correction to translate it as close to the original as I can, my proficiency in English may not be perfect (far far away from perfect). If you're interested, I can provide a link to the original essay on my private blog.
Any suggestions, corrections, comments are welcome.