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yumeka-sxf · 2 months

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Japanese Linguistic Observations in Spy x Family - part 3

Part 3 - Yor's keigo

I discussed in part 1 about the different levels of speech in Japanese, particularly how Twilight changes his speech depending on the persona he's donning. He uses keigo, the standard polite form of speech, when he's acting as Loid Forger, but uses casual speech as Twilight. Yor, however, uses keigo all the time, to a degree that some would feel is excessive, but also makes sense for her character.

Keigo is the most basic form of polite speech in Japanese. It's the speech that's taught in pretty much every beginner Japanese learning course because it's the "safest" for most situations. Without getting too technical, it basically involves using the polite conjugations of verbs. All verbs in Japanese have a "polite" conjugation form that's used in keigo. For example, the verb "to go," 行く (iku), will change to 行きます (ikimasu): change the く(ku) to き (ki) and add -ます (-masu). -masu itself is then conjugated further to show past tense, negative tense, etc. Likewise, one would use です (desu) as the "to be" verb instead of its casual equivalent だ (da). For example, saying 車です (kuruma desu), which means "there is a car" instead of 車だ (kuruma da). It's even more casual to leave out the "to be" verb altogether.

Unlike Twilight, who changes his speech depending on who he's talking to or which facade he's using, Yor consistently uses keigo, whether she's talking to an adult like Loid, a child like Anya, and even an animal like Bond. She uses keigo with strangers as well, even those who are antagonistic to her, like the other assassins in the cruise arc.

Even at times when using polite speech isn't warranted, like in her own thoughts, she still uses keigo regardless.

In addition to using keigo with pretty much everyone, she also uses the polite -さん (-san) honorific with everyone's names as well. It's not unusual to do this with fellow adults like Loid, Camilla, and Franky, but when it comes to kids, especially when they're not your own kids, other honorifics are also an option. For example, adults can use the honorifics -ちゃん (-chan) for little girls and -くん (-kun) for little boys, both of which denote endearment to someone young/cute. Loid calls Damian "Damian-kun" and Fiona calls Anya "Anya-chan" for example. But Yor uses "-san" for Anya, Damian, Becky, and probably every other kid she hasn't met yet! She uses "-san" with animals as well, which isn't nearly as common. She's the only one who calls Bond "Bond-san" and she even called the cat Kopi from chapter 43, "Kopi-san."

She also uses "-san" for people whose names she doesn't know, and in some cases, probably shouldn't show respect to. She calls the terrorists from the doggy crisis arc "terrorist-san", bad guys that she takes out on her missions "warumono-san," Olka's group "mafia-san," and the other assassins from the cruise arc "koroshiya-san."

The only exception to Yor's excessive use of keigo is Yuri, which makes sense since it's standard practice to be more casual with a younger relative than an older relative or someone outside the family. He's the only person she refers to without "-san" (she just calls him "Yuri"). And while she does use the informal verb forms with him, she still uses "desu" and its conjugations. So overall, she's more casual with him, but not completely so.

When talking about herself, Yor uses the standard, gender-neutral, polite word for "I"/"me," 私 (watashi). However, when talking to others, she never uses any form of "you." Like I mentioned in part 1 about how there's different ways of saying "I" and "me" in Japanese depending on the speech level, the same is true for "you." But it's always more polite to say someone's name or title instead of "you," and Yor does that all the time. Just like in part 2 how I couldn't recall any instance where Anya says "I" or "me" since she always refers to herself in third person, I can't recall any time Yor called someone "you" instead of saying their name or title.

While Loid uses the casual "you" word お前 (omae) when talking to Anya, Bond, Franky, and anyone else he doesn't have to be polite with, he doesn't use any form of "you" for Yor. He speaks to her the same way she does to him – saying her name plus "-san" instead of using "you."

Unlike English, Japanese is a language where you don't have to say pronouns if it's understood by the context, which is why something like this is difficult to convey in a translation.

I think it's an interesting contrast that Twilight is constantly changing how he speaks depending on whether he's acting as Loid Forger, as a spy, whether he's conversing with a fellow spy like Fiona, a casual friend like Franky, someone he respects but can't be fully open with like Yor, and even how he talks to himself in his head…yet Yor is the total opposite. As I've discussed in this post, she's extremely consistent in her speech, never straying from being polite no matter who she's speaking to or whether she's in her Thorn Princess role or not, or even whether she's speaking to herself in her head or not. This just further proves that, while Yor has to keep her assassin job a secret, she doesn't have to create a fake persona for it. Unlike Twilight, who acts one way as a spy and another way as Loid Forger, and perhaps another as his "true" self, Yor doesn't feel the need to hide anything about herself other than her job as an assassin – Thorn Princess and Yor Forger are the same person who shows respect for others no matter what her relationship is with them.

Such excessive use of keigo is odd for a fluent speaker, but it's not unheard of. There are plenty of examples of characters from other anime/manga who use keigo all the time too. I think it gives us an interesting, subtle look into their character. In Yor's case, I think her constant use of keigo comes from a combination of her sweet personality that never wants to offend anyone, but also her poor self-esteem. After all, keigo and other polite forms of Japanese speech are meant to elevate the listener while humbling the speaker. Yor speaks politely to everyone because she simply wants to be kind to everyone and make them feel comfortable, even those she has to kill, but at the same time, she often feels inferior to others.

However, there are rare exceptions where Yor stops using keigo which are, appropriately, during very suspenseful, high-stakes moments where politeness would be the least of her worries. For example, during her fight with Barnaby when she realizes she's holding back, she starts using casual speech. But she goes back to keigo before too long.

But probably the most notable example of her completely dropping keigo is near the end of her big battle against the assassins on the cruise ship, where she finally comes to realize what she's fighting for. During her whole epiphany scene – starting from when she thinks of Yuri and herself as kids until she stands up and says she won't stop fighting – she switches completely to casual speech.

There are many ways to interpret this, but I think it shows what an emotional revelation this was for her: she remembered that the suffering in the world is what caused her to want to protect Yuri from any kind of tragedy, and now the same can be said for Loid, Anya, and Bond. She remembered the words of acceptance she heard from Loid when they first met, words no one else had likely ever said to her before. She realized that she didn't care what happened to her as long as she could stop anything bad from happening to her loved ones – in that moment, no formalities were necessary with such intense self-reflection.

Continue to Part 4 ->

<- Return to Part 2

#sxf #spy x family #spy family #spyxfamily #loid forger #yor forger #anya forger #twiyor #sxf manga #sxf analysis #sxf manga spoilers #sxf meta

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yuurei20 · 6 months

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I've noticed Epel keeps adding 'kana' to the end of his sentences. What does it mean?

Hello hello! Thank you so, so much for this question, I have always wanted to mention this.

“Kana” can be a multitude of things in English, such as “probably,” “I guess,” “I think,” “I wonder,” etc. A basic explanation would be, “a word used to express uncertainty,” but like most things when it comes to language, that is not the only thing it does.

A quick review of Epel: from his first day at NRC he has been under order from Vil to “speak more politely,” as he tends to use informal speech with his senpai.

As you point out, Epel often adds “kana” to what he is saying, and that is because one of the things that it can do is ‘soften’ something that you’re saying in order to make it sound less direct, and thus more polite.

Examples: Epel telling Kalim that his assumption is wrong, telling Vil that he disagrees with him, saying that his Phantom Bride look is weird, etc., these are all sentences that he is awkwardly gentling via “kana,” often after several ellipses or a comma, as though it is not a part of his normal speech pattern.

This gets into cultural differences: When Ace assumes that Epel is dedicated to a certain brand of apple juice, for example, an English-speaking Epel could probably respond, “That’s not actually the case!,” without sounding rude. But that could be interpreted as a little brusque in Japanese.

In order to soften the expression Epel adds “kana” at the end, which sounds more like, “That might not be the case,” “I’m not sure that is exactly what is going on,” etc., in English.

Even though he knows for 100% certainty that he is not actually dedicated to a certain brand of juice, he is still using “kana” in order to not sound too straightforward.

(screenshot from maggiesensei.com)

(This can and does cause issues when moving in between languages: a Japanese learner who only knows that “kana” means “I think” might not add it onto sentences where they are certain about something, and thus risk annoying their Japanese-speaking colleagues, for example. In contrast, an English learner may say “I think” too often, leading their English-speaking colleagues to wonder why they don’t seem to actually know anything. It’s all part of the joy of language and culture!)

While there are several words in Japanese that can be used to soften your phrasing, Epel seems to have latched onto “kana” in particular, possibly because it is an easy word to add on to the last part of what might otherwise be a rude sentence in an attempt to avoid a reprimand from Vil.

Other times Epel will belatedly add “desu” onto his sentences, also in a bid to sound more polite than he is used to speaking.

If you are a language learner I would not recommend using Epel as an example of when to use “kana,” as he will sometimes shoehorn it into places in an unnatural way (as a part of his character).

EN is doing its best to recreate Epel’s “kana” by including things like “kind of,” “not sure” and “maybe” in his dialogue, but as sounding uncertain doesn’t necessarily mean you sound polite in English, this may not be having the same effect. And I have no idea how they would go about recreating this habit of Epel’s in a way that can properly portray what is happening in English—it might just be one of those things that gets lost in translation :<

Bonus: The Japanese language has four different alphabets (kanji, katakana, hiragana, romaji), and katakana is the alphabet used for foreign loanwords.

Whereas other characters who use honorifics have “-kun” and “-san” written in hiragana in their dialogue, Epel’s dialogue uses katakana. This is possibly meant to symbolize how using honorifics in these situations is foreign to him, and he is not used to it.

(When he does shift into using honorifics in hiragana, it is only when he is talking to people from his own village: people he is used to!)

#twstask #Epel Felmier #twisted wonderland

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notfreetoday · 10 months

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My Personal Weatherman Ep 2 Tidbits

I'm really enjoying the adorable awkwardness with which Yoh acts around Segasaki, and it comes across not only in his behaviour but also in his speech pattern. I watch without subs, so this may have been conveyed, but just in case it wasn't I'd thought I'd share a few cultural/language tidbits here.

Teruteru Bouzu first - you'll probably have seen one before if you watch slice-of-life anime. That little doll/ghost like thingy that Yoh was folding with the tissue is used like a charm of sorts, to chase the rain away, or just as a good weather charm that you'd hang by the window. You'll often see these hung up by the kids in Kindergarten cause that's the age when rain sucks hahaha

I loved this because it shows that Yoh really does miss Segasaki, even though he doesn't want to admit it. The way he smiled at it and then violently threw it away when he realized what he was doing 🤣🤣🤣

Later in the episode, Yoh's emotional withdrawal from Segasaki due to his building jealousy is emphasized in his speech patterns - he awkwardly drops in some "polite" words/patterns (which he didn't in Ep 1, although, granted, he hardly spoke to Segasaki in Ep 1 lolol), which makes his sentences come across as slightly more stilted. This first happens (and is clearest here) when Segasaki joins him for dinner after realising Yoh had waited up for him. He catches Yoh staring and asks "Hmm?", to which Yoh replies says

"あ、いや。なんでもない…です" (Ah, iya, nandemonai…desu) aka "Ah, no, it's….nothing".

"Desu" as you probably know, is an ending particle used in "polite" speech, which he tacks on as an afterthought (the polite form of "iya" would be "iie", if he had wanted the whole sentence to be polite from the get go).

After dinner, when Yoh tries to wake Segasaki up but doesn't know how to, he tries by saying "あの…" (ano…) a few times - which is a common sound you use to get someone's attention but don't want to sound too demanding - this actually isn't being polite per se, because Yoh's certainly not going to go all "Oi!" (which is rather rude) at Segasaki now, but it does show the hesitancy with which Yoh approaches him. Then, when he says he's going to bed, he says

"じゃ、俺は寝るので" (Jya, ore wa neru node) aka "So then, I'm going to bed, therefore…"

The usage of "node" here doesn't quite make the sentence "polite/formal", but it certainly is a little less colloquial than using "から(kara)". The same way that "therefore" doesn't make a sentence polite/formal in English, but is definitely less colloquial than using the word "so" in English. Also, I just find it funny that he uses the informal "ore" pronoun for "I" here with "node" instead of the more formal "boku". Both this, and the random -desu he added earlier, just make his sentences a little more stilted/awkward, and individually don't deserve much mention at all, but together, and in the context of his jealousy, show just how unsure of himself Yoh is around Segasaki.

Btw, the full line he said was

"寝るなら部屋で、とおもって。じゃ、俺は寝るので、あの、その、そういうことで、おやすみ。 aka If you're going to sleep then, (you should sleep) in the room - at least that's what I thought..... So then, I'm going to bed, therefore...um... that... with that... night!

TOO ADORABLE.

(If the text in the speech bubbles wasn't subbed) The manga drawing on the computer, shown right after Yoh's internal dialogue of "But, if I said, 'no' then… it would negate the 'hate' that I said earlier so…" has the words "suki da yo, chanto" in speech bubbles, essentially "I do like you, (you know?) Really."

I'm really enjoying this show 😆 😆 😆

#my personal weatherman #taikan yohou #体感予報 #japanese #linguistics #can I also say I just love their miscommunications and how segasaki seems to at least be able to understand yoh's behavior #or at least better than yoh can read segasaki's behavior #and the headpats #THE SHEER NUMBER OF HEADPATS

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max1461 · 6 months

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In reference to this.

Ok, here's the breakdown. Languages will be color coded as follows: English, Spanish, Japanese, Sanskrit, Latin. The rule is: every phrase must be formed by a structurally valid syntactic rule in some language. So, for instance, English transitive VPs have the shape V NP. This means I can pick an English V and a valid NP from any language and mix them together, and that will be valid (in this game). I could say "I eat el burrito", because "el burrito" is a valid Spanish NP, and "eat" is an English verb. Etc. Mix and match languages, but always keep the tree coherent!

Anyway:

boku wa es posible hablar en nihongo to supeingo no kongou. konna kongou de los idiomas sukoshi difícil da kedo omoshiroi ne

"For me it's possible to speak in a mixture of Spanish and Japanese. This mixture of languages is a little bit difficult, but it's entertaining isn't it?"

probablemente riyuu wa (boku ni totte) japones y supeingo no fonología es muy similar, soshite kongou suru no ga natural...

"Probably the reason is that (to me) Japanese and Spanish phonology is very similar, so mixing them is natural..."

saṃskṛtam mo iretai kedo mi capacidad saṃskṛtasya tarinai ndarou

"I would like to add Sanskrit too, but my ability in Sanskrit isn't sufficient I don't think"

Estne Nīlus in Iaponia? Nīlus in Iaponia ja nai. Nīlus afurika ni aru.

"Is the Nile in Japan? The Nile is not in Japan. The Nile is in Africa."

(This is a reference to Lingua Latina by Hans Ørberg, and also probably the most complicated thing I can actually say in Latin)

@hacvek says: marius et ludovicus in iaponia sunt desu

"Mario and Luigi are are [sic] in Japan."

I say:

sore nōn tadashii! kono gēmu no rūru wa, todos los phrases must be produced aru gengo no valid syntactic rule wo tsukatte! "marius et ludovicus in iaponia sunt" VP (o TP?) est! nihongo ni wa [CP -> VP desu] grammatical ja nai yo! es shinpuru!

"marius et ludovicus iaponia ni iru" toka no hou ga bueno.

"That's not right! The rule of this game is that all the phrases must be produced using a valid syntactic rule from some language. 'Marius et ludovicus in iaponia sunt' is a VP (or TP?). In Japanese, [CP -> VP desu] is not grammatical! It's simple!

'Marius et ludovicus iaponia ni iru' or something would be better."

morphology de 'sobur omoshiravir darou... maryaśca lvigyō nihoni...

"It would be interesting play [sic] with morphology too... Mario and Luigi are in Japan..."

Here I'm trying, (and maybe succeeding?) to apply Sanskrit nominal morphology and sandhi rules to Japanese. Like, "omoshiroi" is an adjective, so it gets a Sanskrit case ending (in this case the nominative -ḥ). But then sandhi applies, and that -ḥ becomes -r due to the following voiced consonant, plus the sequence /oi/ becomes [avi]. Mutatis mutandis for the rest of these.

@fieldsplitting says: mundus super marii mittsu no bubun ni omnia divisimasu: marius to ludovicusque bufo

"The world of Mario divides a whole [sic] in three parts: Mario and Luigi and Toad."

I say: mahat sugaviḥ

"Greatly amazing"

(attempted Sanskritification of "meccha sugoi")

Second-to-last one ni mondai ga aru; "morphology de 'sobutum omoshiravir darou" sería correcto ndarou.

"There is a problem in the second-to-last one; 'morphology de 'sobutum omoshiravir darou' would be correct I think."

(I messed up the Sanskrit part the first time)

Anyway, there are almost certainly errors in this that I didn't catch. First because I'm not very good and Sanskrit and really not very good at Latin, and second because this is just kind of hard to do in general. But like I said, it is fun! Anyway, feel free to point out any errors if you see them.

#linguistics #knee hone go #es bag knoll

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ryuseiired · 5 months

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mahiru. 12.

im expecting this to be an answer that requires a read more. go, autism boy, go. talk about mahiru and all the ways people sleep on her character

I LOVE YOU. YOU KNOW ME SO WELL. right. yeah here we go. i Do have thoughts. on this one.

12. what do you wish would be discussed more often about them in the fandom?

ok. well first off. i think we should just talk about mahiru more in general because i love her. but here is my biggest thought on What Exactly Some People, Especially Not On Milgramblr, Are Sleeping On About Mahiru: there's a lot of talk about her murder case, and that's great, but... i think a lot of the things that really draw me to her as a character and to her case tend to slip by people on account of the way milgram likes to- as kazui shows us in cat- keep it simple, victim and perpetrator. but i think trying to understand her better also gives a better understanding of where exactly things did go wrong in the relationship that put her in milgram.

the rest of this answer where i elaborate more will, in fact, be under a cut because you are right that i have an essay locked and loaded on this and actually this turned into a mahiru analysis/theory post by accident i meant to answer mostly normally but unfortunately i'm not normal about mahiru shiina.

let's talk about this is how to be in love with you. can we talk about this is how to be in love with you? i'm dying to talk about this is how to be in love with you. and god, its english name is a mouthful, i understand why some people just go with calling it ai nan desu yo.

obviously (hopefully) we all know mahiru getting guilty voted over this mv was absolutely fucked and unfair. i'm still mad about it. especially because i think that if you look at this is how to be in love with you (and her interrogation questions from its trial) in particular (as well as some other stuff), it says a lot about mahiru as a person, and in turn about her crime.

it's easy to miss underneath how friendly and cheerful she is with the other prisoners, how she seems like such a social butterfly, but... i don't think mahiru actually had a lot of connections other than her boyfriend, and i think this is a big factor in what happened with him. mahiru... seems lonely. like her life is... very empty. and i don't see people focus in on this fact a lot, despite how her first trial voicelines even say as much:

there's nothing left without him, and at least if she's here she can talk to es and the other prisoners. mahiru's interrogation questions paint a picture of someone who doesn't really have a lot in their life. when asked in t1's interrogation if there's someone she can confide in, mahiru's answer is the lady who works at the beauty parlor she goes to. this doesn't seem like the answer of someone who has close friends to talk to instead, at least to me. like. that's not... you'd think if she had friends she felt she could talk to, she'd have mentioned that here, right? that'd be the place to mention any close friends?

in this is how to be in love with you we see her spending days off at cafes alone, and she tells us about having hobbies that are generally solitary, we see her reading in the mv and interrogation reveals that prior to milgram her hobby was watching dramas. she tells us in interrogation that growing up, she was a sheltered girl. she also appears (taken from this is how to be in love with you) to have recently arrived in tokyo, meaning she may not know a lot of people there and has probably moved away from most of her family (though she does mention attending a relative's wedding).

i think part of the problem is that when mahiru meets her boyfriend... she doesn't appear to have much in the way of anyone else. mahiru is social, mahiru loves talking to people, mahiru doesn't really know how to act without copying others... and her boyfriend is the only person she's close with. she appears to be relying on him for almost all of her social connection.

as i just mentioned, she also has the habit of copying others, incessantly. the infamous "i'd smoke if my lover did too" interrogation answer, and again, the text in this is how to be in love with you...

(transcriptions into english from here!)

see the things that jump out here? "even though i'm just copying everyone else in everything. is that the right thing to be doing?", "i thought to buy the same bread he did", "i wasn't really thinking when i blurted out "me too", so now we run together". you can see this in the lyrics too. "i'm going to start relying on you if you're kind to me, so please forgive me!"

i think these are key traits in why her relationship went the way it did. i don't think mahiru is uniquely "toxic" or too needy/clingy in a way that means she can never have a relationship (and god, don't get me started on how i've seen people say this). i think she's obviously a highly social person, and was in a situation where she was relying on one person (assumedly with lower social needs than her) to fulfill all of her need for that. i think she's horribly anxious about losing that connection and having to be alone again, and she doesn't know how to deal with it other than to constantly (and annoyingly, disruptively) ask for reassurance. i think she bases herself on others and ignores her own desires in order to imitate them and/or do what they want, and if her boyfriend also didn't have a particularly strong sense of identity and/or also wasn't the type to stand up for himself, it would be really easy to get sucked into this horrible loop where you're both trying to copy and please each other and now you're both constantly putting aside what you actually like for the other person and neither of you are happy.

except mahiru is happy, or... she thinks she is, because she's happy to give herself up for love. she says as much herself: "we fought sometimes, i was happy to get hurt." but... there's something else in the lyrics, isn't there? "i pretended to be a good girl, i don't want to be "ok"". my take is that mahiru isn't getting what she wants/needs out of the relationship, and knows it on some level. but she isn't going to leave him, either, because she's decided this is true love and also if she did that she'd be alone again. so she hopes something will just change instead, or convinces herself that she is satisfied. but she's not. near the opening of this is how to be in love with you: "i guess we can just say that this feeling is happiness, i can't stop feeling like there's something missing." so she keeps pushing, she keeps trying, and... well. we know how that ends.

so after all this rambling, what's my point, exactly? i don't think either mahiru OR her boyfriend were any sort of perpetrator. nor were either of them a victim. i don't think the relationship fits neatly into that framework, even though milgram judged mahiru a murderer and her boyfriend to be her victim. i think there's a reading that doesn't need any of that: two people who seemed to get along well and have similar interests who got into a relationship, and who were actually incompatible in their deeper needs in a relationship. mahiru clings to this relationship despite this, because she needs it. because she can't be alone again. because having a boyfriend who fails to fulfill what she wants/needs is better than having nothing.

neither of them are bad people, nor (from what we can see and from my opinion on it) did either of them do anything particularly wrong. what makes the most sense to me is a competing access needs sort of situation. mahiru needs reassurance and a lot of attention/interaction (especially from a romantic partner, something she idolizes having because of how special you're supposed to be to each other!), while her boyfriend needs more space than what she's giving him... but mahiru, at least, definitely doesn't want to break up. so eventually, they end up in a situation where he feels there's only one way out.

i think this lens can be supported by what we see in i love you, too! note lyrics like "this can't go on, something's got to give", "why won't you just accept me", "mon-mon-monstrous, cuz i love you so much". and...

here's something else she says in i love you: "i don't need anyone else, as long as i have you." but the truth is... mahiru does need other people. the truth is that one person can't fix the underlying issue that mahiru is desperately lonely and has very few connections in her life. the truth is that it's incredibly unfair to rely on one person to fulfill all of your needs and to desperately insist upon staying in a relationship just to avoid being alone, and mahiru realizes this too late.

so. um. i've never really seen anyone else talk in too much detail about an interpretation of the character/situation like this. i see a lot of "they were both toxic" but i think that's a kind of weak simplification of it, you know? what is "toxic". it's bad, obviously. do we think they're bad people doing bad things, or just that the relationship was bad? is that "toxicity" inherent to them as people, or could things have gone better in a different relationship? are they both "toxic" or are they just both stuck in an incompatible relationship where neither of them are wrong but they are unable to meet each others' needs?

i don't know. it's 4am and i've been writing this for two hours and i'm honestly not sure if it's coherent or not. but to end this here's another footnote of something i cant stand people sleeping on about mahiru: she is so stupid forgiving of literally everything and it kind of kills me and i dont really see anyone else point this out as being a bad thing that could get her really hurt. like. she forgives kotoko for almost killing her and says she doesn't resent anyone for anything. she puts up with anything, as seen by what i mentioned about her desire to stay in the relationship with her boyfriend even though it was obviously not giving her what she needed and it was hurting her too! i think if mahiru had ended up in a relationship with a different guy, it would be entirely possible for her to be in an abusive relationship and refuse to leave it because of this particular tendency. and i don't see this mentioned much. probably because, again... mahiru's framed as a perpetrator. she killed her boyfriend, right? so obviously she's not the one who'd be hurt in a relationship.

ok. i'm done now i promise i am so done with this for real. um. if you read this whole thing thank you. i'm sorry it's so long or if it's incoherent in places. i just have a lot of thoughts about mahiru shiina

#milgram #fuck it im maintagging it. everyone read my long-ass mahiru post. get mahiru'd.#wow a theo original #mahiru shiina #asks #lizard-boot-camp

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1moremilgram-enjoyer · 8 months

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Since I'm a very "the curtains are blue for a reason" kinda person, I want to talk about potential symbolism in the couches of Ai Nan Desu Yo and I Love You! Does that sound weird? Maybe it is, but I think it's kinda fun!

CW Suicide, unhealthy relationships

What first caught my eye is that the couch is (mostly) symmetrical, split right down the middle. Well, the pillows are symmetrical, not the... blanket? Yeah, blanket. Because it's symmetrical, it could be seen as a representation of Mahiru's relationship, with each side representing one of the lovers. Notice how it's yellow-orange, which can represent happiness and warmth, which fits.

[Ai Nan Desu Yo] Do you really think you know what love is? If you do, then let's just overheat together

What I then noticed is that the blanket thing is mostly on the left side (I'm using camera view for this post), which could be interpreted as meaning the partner on the left puts more effort into the relationship, 'gives more warmth'. Meaning the partner on the left would be Mahiru, who is implied to be showing way more affection than the boyfriend to the point of being overwhelming. For example, just looking at the size of the pieces of cake they give each other in I Love You.

(Mahiru left, boyfriend right)

And this idea of 'Mahiru to the left, boyfriend to the right' is corroborated because that's how they're shown sitting in I Love You.

... Well, the couch is slightly different. It's more detailed, possibly because I Love You gives a more realistic look at the complexities of their relationship (?), but it does seem like it's a reference, especially since the green pillows are still there.

Although the green pillows are tattered when we see them in the Purple Background Dimension (<- why is this series so hard to talk about). Could this imply they're actually a representation of the lovers? It feels like this makes sense. Pillows are often filled with feathers, which are an important aspect of these two's symbolism (they're both in the bird cage -> they're both birbs). And it also fits with the "calling" scene, sort of.

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

We see her call her boyfriend while somewhat-tightly hugging the pillow which apparently represents him, and the lyrics imply she's calling at an inconvenient time. Mahiru has a lot of imagery of smothering and suffocating, as her love is too overwhelming for her boyfriend, which vaguely fits the first two images. In this case, she wants to talk to him at all times, which he likely doesn't appreciate, he gets angry with her being overbearing, they do what seems to be one of the "breakup rituals" mentioned in a later line. Still, she longingly holds onto the pillow, before breaking down when it's no longer in her hands. They always come back to each other, because they've probably become dangerously codependent (I think? <- My aromantic ass does not understand romantic relationships)

Does that sorta work? Maybe.

Then there's the scene where Mahiru jumps into the right side of the couch, possibly a representation of invading boundaries (again, overwhelming affection), and sends a bunch of feathers flying. The feathers are in the middle, because again, both the lovers are birds. And this makes sense, since Mahiru's love in a way was also hurting her by making her love someone who could not meet her emotional needs.

[I Love You] My love, it scored an own goal, destroyed my love and me with its weight

(Also, I swear I remember Mahiru hugging a pillow here, but no, she grabs air. Mandela effect, ig)

The final thing to note is that Mahiru is sleeping on the right side of the couch before her boyfriend's suicide in Ai Nan Desu Yo, but she goes to sleep on the left after the suicide in I Love You.

The former again possibly implying Mahiru's unwillingness to separate from her boyfriend, and her tendency to invade his boundaries, is part of what caused him to commit suicide. Meanwhile, the latter makes sense, as Mahiru is alone and thus has to stick to her side of the couch.

(I'm frankly not sure how this would work with the shinju theory, but to be fair Ai Nan Desu Yo's ending as a whole doesn't work perfectly with that theory anyways)

Uh... so it sorta works? If that's the case, we can look at the stuff around the couch to establish some further potential symbolism.

For one, the diamond pattern in the carpet. Diamonds in general represent love and all the aspects of healthy relationships, which doesn't seem like it should make sense until you realize most of Ai Nan shows an idealized version of the relationship, and the carpet isn't present in the more realistic I Love You. Though I have to disclaim I'm talking about diamond the gemstone, because the shape itself (lozenge) represents "a sown field and female fertility" which I don't think is exactly applicable. Mahiru and her boyfriend aren't farmers.

(As far as we know)

The phone could have really been on either side since it just represents communication, so it's probably on the right for the sake of the "calling" scene.

The potted plant on the left is something which needs taking care of to survive, which may represents Mahiru's unfulfilled desire for attention and matching love from her partner.

[Ai Nan Desu Yo] This is a claim of responsibility From the two of us with matching love

The lamp is odd because I can't tell where it's meant to be pointing, but thankfully it makes sense with all three possibilities. Since it's on the right, it may represent how much attention Mahiru is giving her boyfriend. But it seems pointed to the left, so it could represent Mahiru's desire for her boyfriend to pay attention to her. Or maybe it's pointing at the middle, because the video is focusing on the relationship. The beauty of symbolism is that, if something looks a bit odd, you can just make shit up as long as it doesn't contradict any of your other claims!

Anyways, am I onto something or am I going completely insane? Good question! But I wanted to share this so. Take care!

#milgram #mahiru shiina #milgram theory #milgram analysis #ai nan desu yo mv #i love you mv

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kanai-ward-census · 7 months

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Kokobolt propaganda

"dunno how 2 explain it but they care for each other a lot and actually think each other is cool and they r so good 4 each other and i like them a lot"

"They may seem like the cute fluffy gay ship in every piece of media, but let me propose, the angst potential they have. Imagine, Yuma leans more attraction to girls like Kurumi & Fubuki, and Desuhiko falls head over heels in love with him from their initial interactions. The girls have a bigger chance of being with Yuma instead of Desuhiko which leads to his jealousy of the girls because he isn't a girl therefore he can't be with Yuma. He's jealous but also wants what's best for Yuma, so he lets him go. Desuhiko being a bi/pan disaster. He wants what Yuma has-- being wanted by someone but also jealous that he can't even be with Yuma."

"They're gumshoe gabs are so cute. Yuma has the chance to hit on Desuhiko in his first gab, and in his 4th gab Desuhiko says a man wouldn't be a deal breaker for him (trans rights and bi confirmed!). Plus, the way he calls Yuma his man is both an endearing nickname, but also comes off as really gay in some cases. It also comes off in the 5th gab like he was about to confess but chickened out at the last moment. He also blushes when Yuma compliments him and he wrote him a whole song (I wish we could have heard, 'The Song of My Man'). That sounds more than just buddies. And in Yuma's case. He calls Desuhiko amazing and compliments his abilities. In the mystery labyrinth he even blushes when he says it was thanks to Desuhiko's forte they managed to do the investigation. While he doesn't join his band, he's sincere about being his fan. They're just so sweet and wholesome (which is hilarious considering how crass Desuhiko can be). They just feel like opposites attracts. Warm and cold colours, sun and moon. Also, Desuhiko literally jumped in front of a gun for Yuma. Someone he'd only really gotten to know that day. Feels very love at first sight. Also, adding my screen shot from the game to the ask box too."

"They are silly awkward bi boys your honor"

"You cannot look at Desuhiko's gumshoe gabs and say that he is cishet. You cannot. Also Yuma is like the only person that's shown genuine interest in Desuhiko's likes and opinions and that takes him out of his comfort zone so hard because he's so used to everyone dismissing or looking down on him. He makes him so vulnerable. Desu is also willing to take a bullet for him (literally) and offered to exchange roles in the mystery labyrinth because Yuma looked to be having a bad time. Your honor they are homosexual"

Fanfiction links:

Image propaganda:

Submitted by brightstarblogs

Submitted by sobredunia

#raincode #master detective archives: rain code #mdarc #raincode tournament #tumblr tournament #poll tournament #yuma kokohead #desuhiko thunderbolt #kokobolt #yuma x desuhiko #propaganda

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yanderefairyangel · 5 months

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I don't really understand why people dislike M!Alear when he is the same character as F!Alear. Though... I had said that in a discord server and some people got upset at me for calling them the same character because "it just reduces a female character to being an attachment to a male character."

I think it could just be a bias people have towards some of the female avatars for FE that makes them say "female better than male".

"it just reduces a female character to being an attachment to a male character"... ain't no way someone actually think like this, this sounds like someone trying to sound feminist without understanding how that even works

Anyway, after reading someone's post about M!Alear I think I started to understand why people seem to believe they have different personalities.

Both Alear have the exact same personalities, they are both sweet little potato whimsically silly scared and wet pathetic sopping kitty whose kindess is the greatest quality

But from what I understood, it seems that it's not that unexpected for F!Alear to have such a personality unlike for M!Alear. Basically, in the mind of people, girls are expected to be sweet and kind, which is why a lot of "strong women" representation have a personality that's more tough and all, because they associate kind and sweet = weak.

Well, you have no idea how many people insist that Alear's sweet personality makes more sense as girl then boy because of this nonsensical mentality. Again, because this personality is associated with "girl", this means that in the case of M!Alear his sweet demeanor is more standing out.

For example, in jpn, both Alear use the prounons watashi and masu/desu. But while for F!Alear it's almost expected, M!Alear use them as well which is making him more polite and sweet in comparison (I swear I 1000% expected him to use "boku" so I was kinda surprised)

And that's something cause so far all the female avatar were using watashi while their male countepart were either using "ore" or "boku". So in reality many factors makes M!Alear's sweet personality stand out more even though he really as the same personality as F!Alear. But because of this people don't like him cause he has a personality they associate to being "for girls" (which is stupid) or he isn't some stoic tough guy that never shows any emotions or ever flinches... Just... just remember that Alear USED to have this personality and it was when they were completely traumatized and broken.... just to tell you what kind of people we are talking about

#fe engage #fire emblem engage #fire emblem

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luthienmpl · 9 months

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It's fascinating to me how Mizuki and Yoh both use short form when talking to each other but you can somehow still hear how Yoh is being more polite and deferring to Mizuki. Just in the way he uses filler words and how he intones stuff and his general mannerisms. Like at some point during the date I actually had to stop and pay attention in case he was slipping desu form in there and I just hadn't noticed.

#my personal weatherman #taikan yoho #i think he might also be avoiding referring to himself as ore in mizuki's presence?#but i'd have to go back and rewatch and really pay attention to his use of pronouns to confirm that #anyway language is cool #and ngl i love watching j-bl simply for being in a language i have some grasp on #and then in total contrast he just DUMPS the sheets on him lol #linguistics

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roguemaki · 5 months

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Fun Vocabulary & Translation Notes from the Chara Commentary

General

私（あっし）

asshi first-person pronoun mainly used by working class men note: Chuchu uses this

漫才

manzai = a traditional Japanese comedy format Typically performed by a 突っ込み tsukkomi (straight man) and a 惚け boke (funny man) Part 2 - Secelia wrote 21 "tsukkomi patterns" to react to Guel, who is (unknowingly) serving as the boke in this case. Part 3 - Elan and El5n's intro bit flops. Guel comments that it's like a failed attempt at a manzai routine, which Suletta recognizes from old archival material she's watched. Part 4 - When Shaddiq joins, he has no interest in joking around and playing the role of a boke.

普通

futsuu = normal; ordinary; regular; usual; common; average Part 2 - When Miorine asks Suletta if she thinks Guel is funny, her response is: 私は普通ですけど… Watashi wa futsuu desu kedo... note: literally "I am [my reaction is] normal," but translated it to "To me… he’s normal…" Part 3 - Adding ni makes this into an adverb, like in Suletta's line: やっぱり普通に聞いてるじゃないですか！ Yappari futsuu ni kiiteru janai desu ka! note: literally "So you were listening normally [in the sense of 'without issue']!" but translated to "So you did see and hear everything...!"

Part 1

弱肉強食

jakunikukyoushoku jaku = weak, niku = meat, kyou = strong, shoku = eat note: translated to "eat or be eaten"

水星生まれ！水星育ち！

Suisei umare! Suisei sodachi! Suisei = Mercury, umare = birth, sodachi = upbringing note: translated to "Mercury born and raised!"

Part 2

三下り半 (or 三行半)

mikudarihan mi = three, kudari = down, han = half literally "three and a half lines," refers to the Edo period practice of sending a letter of divorce typically comprised of 3 and a half lines in modern Japanese, it's a slang term that means a unilaterally decided, less than amicable separation note: translated to "a messy divorce"

Part 4

あれは役でげすよ

are wa yaku degesu yo = literally "that is the role" In his intro, Shaddiq says this. It purposefully uses an archaic conjugation to get the same number of mora as "alea jacta est" pronounced in Japanese (area yakuta esuto). note: translated to "playing the role as cast" (imagine it being said with the same cadence as "alea jacta est")

見せ腹野郎

miseharayarou mise = showing, hara = belly; one's true intentions, yarou = guy; bastard Chuchu calls Shaddiq this. The phrase works both in the physical sense (Shaddiq's outfit exposes his chest/stomach) and the figurative sense (his true motives have been revealed).

賽 (“die”) and 犀 (“rhinoceros”) are both pronounced sai

Alea jacta est is Latin for "the die is cast," which Miorine explains as 賽は投げられた sai wa nagerareta (literally "the die has been thrown"). Suletta hears sai and thinks it's the word for rhinoceros. note: I gave up and just put a TL note in the video for this, lmao

ふんぞり返る

funzorikaeru = to recline; to be arrogant Another description that works in both the physical sense (Elan is usually depicted as sitting back in a chair) and figurative sense (he's cocky). El5n calls Elan out for just sitting back and letting the Enhanced Persons suffer in his stead.

#random Jp language notes #if I run into more in later parts of the commentary I'll edit this post #ep24cc

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stereden · 2 months

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Statement regarding all my fics and fanworks

Okay folks. I don't want to be making this announcement, but since I just found out that someone was putting my fic(s) on youtube without my permission, here we are.

I do not give anyone permission to put my fics, in any format, on youtube or any other platform than AO3.

I do not give anyone permission to repost my fics anywhere, add them to anthologies, or post them on any other website.

I especially do not give anyone permission to make money out of my fics, be it by monetizing videos on any platform or selling fanbound editions (personal or gift copies are alright, selling outright is not. Please refer to points 4 and 5 of the Renegade Bookbinding Guild's code of conduct to see what I mean by that.)

So if you see my work anywhere other than AO3, with or without credit, please let me know as soon as possible so I can report it and get it taken down, especially if the person in question is making money off of my work.

However!

I have stated repeatedly in the past that podfics, translations and fanart are fine, but I prefer to be asked first in the case of podfics and translation - mostly so I can tell you if someone else is maybe already working on that particular fic's podfic/translation in a particular language. I also require you to put a link back to the originals with the "inspired by" tab on AO3 and to state clearly that you're podficcing/translating my work. And please tag me in your fanarts, because I will absolutely flail at them!

In regards to the pirate code/lore, because I've been asked multiple times in comments/on tumblr/on discord:

While I'm super happy that you're enjoying my worldbuilding, please note that the pirate code, its tenets and the oaths and associated traditions, as depicted in my fics, are my original creations and not something I've agreed to let others use in their stories as is, since I'm also using them in original writing projects that I'm working on.

I don't mind if any of you want to use some elements of my works as inspiration for your writing, like the idea of a pirate code or pirate culture and traditions, but please do not use the specifics as described and worded in my fics. Create your own instead, or research historical pirate traditions for more inspiration!

When it comes to the main Watashitachi wa Roger kaizoku desu (we still stand proud) series/verse and cast (AKA anything to do with Shanks and Buggy, or original events or characters mentioned in my fics that aren't in canon) I'm currently not giving anyone permission to write in the verse because I have plans for them, I just haven’t gotten around to writing them/posting them.

Outtakes focusing on other characters reactions to the mess that is Marineford, or "characters reading the fic" fics are more than fine (and I’m super flattered and honored!), again as long as you ask me first, link back to me and let me know where to read it, but expanding on things like Depa or Buggy's capture by Shiki are things i'm planning on doing in the future so please leave those to me

The same goes for my OC's, though I might give permission in specific circumstances, but once again: ask me first.

I know the saying goes 'better to ask for forgiveness than for permission'. Not in this case. Ask the youtuber mentioned earlier how I responded to that.

#stereden writes #stereden's writing #my writing #putting down some ground rules here #most of you are awesome but some people pushed me to my limits

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icarus-suraki · 1 year

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The café was called Mondaiji Con Café Daku, which translates roughly to "Problem Children Concept Café" and it was located in Sapporo. "Orikaku" is "original cocktail," like the signature cocktail of the place.

You may be familiar with the light novel and anime Mondaiji-tachi ga Isekai kara Kuru Sou desu yo? or Problem Children Are Coming from Another World, Aren't They?

The concept, like the concepts of maid cafes, "little sister" cafes, and Karen's Diner, is for the waitstaff to play a character when they interact with patrons. In this case, from what I've gathered, the concept was "jirai kei" or "landmine style."

It's a controversial term because it gets conflated with girly style and menhera. Basically, it refers to a girl who looks sweet and innocent and hyper-feminine but is actually perpetually on the edge of flying off the handle if you say the wrong thing (like stepping on a landmine, you never know when you've taken a wrong step).

As an aside, menhera is not jirai. While they may look somewhat aesthetically similar, menhera is directly related to bringing awareness to the presence of mental illness in Japan and an effort to end the stigma of mental illness in Japan. Jirai is not designed to bring awareness to mental illness but makes being a "crazy girlfriend" into a fashion trend. Jirai and girly style can overlap but are also not the same. Girly style is just a particual style and aesthetic of clothing, makeup, and hair. Also, girly style is sometimes called "Larme kei" in some English-language j-fashion circles, which came about because Larme magazine is one of the best-known fashion magazines for the girly style look.

Anyway, this particular waitress mixed her own blood into the drinks, which may just be pushing the limits of the "landmine"/"problem child" aesthetic, idk.

Some netizens think they've figured out who the waitress in question is but I'm not going to link the social media photos here because I can't confirm that they're right.

Hope that gives some more context and info on this very strange story!

#another version of this post was posted by a terf #so i took it back #terfs fuck off

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notfreetoday · 9 months

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MPW Ep 2 Subtitle Corrections

Subtitle Corrections: Ep 1 here

Cultural/Language Tidbits: Ep 2 here

Same translation disclaimer applies. Thanks to everyone reading the first post and geeking out with me in the notes, I really appreciate it XD Ok, Ep 2, let's go! Sorry in advance for the length!

If you're wondering why Yoh's freaking out about the rainy season even though they've been together for 3 years, the manga artist posted a clarification on twitter:

By the way, “it’s been 3 years since then” – that phrase refers to it being 3 years since that conversation regarding the slave contract. As for living together, they’ve only just started (to do so) around Mar/April*, so (at this point) it’s only been a few months (for them). What if (I) got it wrong…. I remember making a note of it, but the file that I wrote it in and passed over (to the crew) couldn’t be found right, so… (was it) a dream?” *Japan's rainy season comes around June/July, so this means that this is the first rainy season these two have been experienced together.

[Y: まずっ] Y: Tastes bad In case the original "that sucks" sounds like Yoh might be talking about the news of the young forecaster - he's really just talking about the food here.

[S: 遅くなるからいらねぇっつっただろう] Original: I told you not to bother since I returned late Mine: I told you I wouldn't need it cause I'd be late right? This is actually a pretty harsh sounding line tbh. It's sort of inkeeping with Segasaki's curtness, but still pretty harsh - so this tells us he's tired after a long day, and explains the frown on his face that Yoh just wipes away with his cuteness

Nikujaga literally means meat and potatoes. It's a stewed dish and a very well-loved comfort food. Super easy to make too (link goes to an easy to follow recipe, and the site also explains a little about the dish).

[Y: 本当、顔だけはいいよな] Y: Really, it's only his face that looks good.

I've talked about this in my cultural/language tidbits for this episode (linked up top) but I'll add it here for completion's sake

[Y: あ、いや。なんでもない…です*] (Ah, iya, nandemonai…desu*) Y: Ah, no, it's….nothing* Yoh let's his sentence trail off before tacking on a "desu" at the end. "Desu" is an ending verb characteristic of "polite" speech, which Yoh doesn't use frequently with Segasaki (in fact, by this point, he has not used polite speech with Segasaki at all, except for maybe saying the full form of the word "welcome home", and even that's pushing it). Here he adds it at the end as an afterthought (the polite form of "iya" would be "iie", if he had wanted the whole sentence to be polite from the get go), which tells us that Yoh's feeling a little off-kilter here, and does introduce the slightest distance between him and Segasaki. We'll see this distance increase as the episode goes on.

[Y: いや、どう考えても食べ過ぎだろう] Y: No but, no matter which way you look at it, (he's) eaten way too much hasn't he? Btw, if your hair started standing at the spoon scraping the pot - in the manga artist's post about visiting the shooting venue (as well as during Ep 1 twitter space) it was mentioned that Mashiko, the actor, can actually cook, so during filming they had to tell him what someone who can't would likely do, and also asked him to do the housework poorly (because Yoh's not supposed to be good at cooking or housework hahaha)

この人*、明日も朝早いんだよな。たぶん。 Original: This guy, has an early morning again tomorrow. Probably. Mine: This person*, has (to leave) early tomorrow morning too. Probably. *The word here is "kono hito", literally "this person". There's actually nothing wrong with the translation "this guy" tbh because that's a fairly neutral term in English, but I'm highlighting it here because in his monologues, Yoh usually refers to Segasaki using much rougher language, such as "koitsu, aitsu", except when he addresses Segasaki directly in his head. I'll talk more about how Yoh addresses Segasaki in the analysis post, but for now - this sentence hints that Yoh has clocked Segasaki's tiredness (subconsciously or not) and is feeling a little bad for him. Then again he quickly hides that by adding on "probably". (Adding the word "probably" behind your sentence is a common way to express doubt/negate what you just said, and incidentally is commonly used by comedians to deliver a punchline).

[Y: あの*…あの…寝るなら部屋でとおもって。] Original: Um… Hey… You should go back to your room. Mine: Um*... Um... if you're going to sleep then, (it would be better to sleep) in your room - at least that's what I thought...

*"あの…" (ano…), translated as "um" here, is a common sound you use when you want to get someone's attention but don't want to sound too demanding - it actually isn't being polite per se, but it does show the hesitancy with which Yoh approaches him. Contrast this with the way Segasaki gets Yoh's attention (so far it's just been "Yoh" or "Oi" - the latter of which you would NOT use unless you were close to the person, or looking for a fight).

As a general rule of thumb, the level of politeness in Japanese is directly correlated with the length of the sentence and just how far you can beat around the bush. So, Yoh's suggestion that Segasaki goes to sleep in his room is literally just "if sleeping, then room..." and everything else in that translation is assumed. He may not being using polite speech forms here (that would be "to omoimashita" instead of "to omotte") but this is still a common way to be polite because he's making a suggestion that is so mild Segasaki can choose to ignore it. This is a great example of Brown & Levinson's "negative politeness" which we'll revisit when analysing their speech patterns, and which you can read about in entirely too much detail here (free to read).

[Y: じゅあ、俺は寝るので** あの、その、そういうことで、おやすみ] Original: Then, I’ll go to sleep. That…sort of thing. Good night. Mine: So then, I'm going to bed, therefore**... Um... that... with that... night!

"Therefore" is an awkward translation for the word ので (node), which is more often translated as "so". I've chosen to use that word because "node", whilst again not a polite form per se, is less colloquial than the more commonly used "から(kara)", to mean the same thing. It tends to pop up more in writing than in speech. "Therefore" doesn't make a sentence polite/formal in English, but it's definitely less colloquial than using the word "so". The use of "node" is just that tiny bit out of place in this sentence paired with the informal pronoun "ore" for "I" as opposed to the more formal choice of "boku".

Again, Yoh answers Segasaki properly here with a "はい (hai)" as opposed to his usual "un" (which is a sound that expresses agreement), when told that Segasaki will be late again. There actually aren't very many moments where Yoh does speak politely to Segasaki (he's definitely rude when he talks about Segasaki in his head hahaha), so these moments stand out. This whole short exchange, together with the random -desu he added earlier, just make Yoh's sentences a little more stilted/awkward, and more distant. Individually they don't deserve much mention at all, but together, and in the context of his jealousy, show just how unsure Yoh is about where he stands with Segasaki.

[Y: あの人の帰宅が遅くなり] Y: That person returned home later and later

"That person" - similar to the above usage of "this person". This sentence is incomplete - the verb form of the last word - 遅くなり (osokunari) indicates that there should be a second part to the sentence (the "completed" form would be osokunatta). But after he says this, there is a pregnant pause, as Yoh puts his phone down and continues cooking alone. The pause continues all the way into the next scene, before the sentence continues, highlighting the loneliness that Yoh feels.

[Y: 当然、触れられることもないままに] Original: Of course, he did not touch me at all Mine: (and) of course, (I) remained untouched (by him) as well

The literal translation for this would be "(the situation in which I) was not touched (by him) continued on as well". Yoh uses the passive form of the word "touch", which places the emphasis on Yoh "receiving" the action of being touched as opposed to placing the emphasis on Segasaki "carrying out" the action of touching Yoh. Consider the difference between the sentences "I was hurt by him" and "he hurt me". The former is the passive form, and is super common in Jp, much less common in Eng. If this is confusing - welcome to Jp grammar just know that the emphasis of this line is more on what Yoh does not have, rather than what Segasaki has not done. It accentuates Yoh's feelings of emptiness and loss.

Y: すっかり日々は過ぎて Y: The days pass by completely ...

Similarly, this sentence is "incomplete", and is instead continued by Segasaki walking in and telling Yoh he'll be late again. (This whole bit just hurts my soul tbh, Yoh is so lonely. )

This is a teruteru bouzu aka a charm of sorts for good weather. See the cultural tidbits post for Ep 2 linked up top for more info!

This is said really strongly, and gives the "what the hell are you doing" feel. Yoh's truly upset here.

I try not to care about some of the subs in these side conversations because they don't add much to the main story and these posts are already too long, but this sentence should really be "Dammit, maybe I should (go) troll the chat" (and the previous sentence should be "If this was broadcasted in a certain country it would be instant death" aka N.Korea ^^;) and I just think it was a nice touch to hint at the fandom wars/flaming that goes on between fans hahaha

[Y: しんどい] Y: This is too draining The word here used is "shindoi", which is a term used when you're feeling mentally/physically exhausted/drained, and carries a sense of frustration (at feeling this way) and sometimes (emotional) pain.

This. Is. Huge. Segasaki does 2 things here - one, he rejects an after-work meal, which you rarely do because Japan is all about the group and rejecting a group invite, to welcome a new member, can make you seem like you aren't a team player - two, the guy who invites him is his senior, which you can tell because Segasaki sticks to polite speech forms whilst the other guy does not. It's still relatively casual, so you can tell he's got a good working relationship with them (probably why he's not worried about rejecting them) but still. In Segasaki's world, Yoh is the No. 1 priority.

This is more accurately "WTF". There are many sounds in Japanese that aren't exactly words, but carry a lot of meaning - "Haa?!" is one of them, and is a very rude way to express a lot of anger and shock. Please, never say this in real life. You will royally piss off whoever it's directed at and if you are outside a Shibuya bar you will get punched.

The word used here is てめぇ (temee), which is a really rude way to say "you", and has the same energy as "you bastard". Segasaki usually uses the informal pronoun "omae" for "you" when he talks to Yoh, he's definitely pissed off here.

This is the same word, "shindoi" again.

I'm going to put the rest of the whole argument here with just my translation because it's too long to screencap the whole thing.

[S: 何なんだよ？このエロい惨状は Y: うるさい。 Y: 俺は売れっ子エロ漫画家になるんだ S: なんだそりゃ。おい *takes away beer can* Y: 売れっ子さんが　シコリながらネーム描くと　いいのができるって言ってた S: なんも描けてなかったぞ。 S: おい、だめだっつってんの S: 飲みすぎ　出すもん出して　寝てただけだろう Y: 黙れ！ Y: 俺はエロくて　抜ける漫画描いて　いっぱい稼いで Y: 早く　こんなとこ出ていくんだ S: はあ？　おい、お前　どういうつもりだよ Y: どうもこうもないよ！ Y: 平気で抱かれてると思うなよ。 Y: 俺のこと、好きでもないくせに Y: 便利な奴隷としか思ってないんだろう？そんなにやりたきゃ隣のキャスターとやってろよ S: お前　さっきから　何を... Y: 俺はあんな風に笑いかけられたことない]

Breakdown: S: What's up with this? This lewd disaster of a scene Y: (You're) annoying! ["うるさい (urusai)" is often translated as "shut up", but it literally means someone is being "noisy", and here is more of a complaint that Segasaki is being bothersome] Y: I'm going to become a hot-selling erotica manga artist! [the word used here is 売れっ子 (urekko), which literally means "someone who gets huge sales" and mostly refers to idols, entertainers, TV personalities etc. So Yoh is not just saying he's going to become popular, he's saying he's gonna be like a celebrity manga artist, which is why Segasaki snorts a little at this] S: What's with that? Hey. *takes away beer can* Y: The hot sellers say that if you jerk off whilst drawing your storyboard, you'll come up with good stuff [urekko-san is a pretty cute way of referring to these popular artists] S: You've not drawn anything, you know? [this is said with a really indulgent air, which contrasts directly with the more authoritative tone of the next line] S: Hey, I'm telling you no more *grabs beer can* S: You drank too much. You just shot what you shot and then went to sleep didn't you? [And this is back to an indulgent tone - also, everyone knows Segasaki is talking about cumming here, he just doesn't actually say it so directly] Y: Shut up! ["黙れ (damare) - contrast with "urusai" earlier. The former is used much less commonly and really does mean to "be quiet". This is why Segasaki pauses and looks at Yoh. Up until now Segasaki just thinks Yoh's gotten drunk and is whining cutely, but this word means things are serious.] Y: I'm going to draw manga that is erotic, that you can wank off to, and then earn lots of money [this is a call back to the conversation with Man-san over the phone in Ep 1, which I did not include earlier because I didn't think it was important to the story when Yoh says "the work that was released last month was amazing! There was a big buzz around the topic "I can't wank off (to this)" - Yoh was being sarcastic here, meaning that he got reviews that his work wasn't erotic enough] Y: and leave this sort of place soon! S: What? Hey - what (the hell) are you thinking? [Again, "haa?" here shows he does NOT like what Yoh's saying, but he does soften the end of the sentence with a "yo"] Y: I'm not thinking of anything! Y: Embracing me so easily - don't think you can (keep on) doing that [again, this is the passive form, so the emphasis is on Yoh being embraced, and here has the nuance of "don't think I'll just (keep on) being fine with being embraced (by you) like it's some sort of norm"] Y: when you don't even like me [this line has quite a bit of bitterness in it - the emphasis here is strongly on Segasaki and his apparent "non-liking" of Yoh my english is dying.] Y: You think of me as just a convenient slave, don't you? Y: If you want to do it that much, go do it with that forecaster next to you! S: You... from the start... what have (you been saying?) Y: I have never been smiled at like that before [again, this is in passive voice]

It's obvious from the acting alone that this entire argument is pretty emotionally charged - this is also reflected in the language because Yoh uses the pronoun "ore (I)" a lot. Pronouns are frequently dropped in Japanese - often you can go an entire conversation without ever uttering the words "I/me" or "you", in part because the pronouns are assumed and also because emphasis on an individual can come across as too selfish/narcissistic or direct. Segasaki uses them often enough with Yoh, which fits his personality, but Yoh normally doesn't. So, when he uses "ore" here it stands out - his plans to be successful and leave, his feelings, his interpretation of Segasaki's actions - all of the emphasis is on his own self. The message is very clear - Yoh is hurting a lot more than he is blaming or accusing Segasaki.

[Y: もう疲れた。あんたといると疲れる。嫌いだ S: お前　酒入るとめちゃくちゃしゃべるんだな Y: ねぇ、何で雨の時はだめなの？ S: はあ？　だって、お前が言ったんだろう] Y: (I'm) tired out. When (I'm) with you, (I) get tired. Hate it. [We've lost the "I" pronouns here, because the emphasis is on the extreme sense of physical and emotional fatigue as opposed to Yoh himself, and on how much he dislikes that feeling. Of note, "hate" here is closer to "detest/really dislike" - the word is "kirai" - which is not as strong as the word "nikui" which we talked about in Ep 1 when Yoh said he hated the part of him that always listened to Segasaki. Also, this is the first time Yoh has addressed Segasaki with the pronoun "you" out loud - he uses "あんた anta", which he also used in his head in Ep 1, after they did it. Again, we'll talk about this in the analysis post in the future, but for now just know that this term is usually used between older couples.] S: You... once you start drinking you really start talking huh? [literally, you "become able to talk"] Y: Hey...why is it when it rains, (we) can't do it? S: What? Because, you said so didn't you? [the last "haa?" from Segasaki! This time expressing his surprise and slight indignation.]

[S: 俺は優しいんだ] S: I. am. Kind. Great example of Segasaki's use of the "ore" pronoun here to quite literally emphasise how great he is. "優しい (kind)" in Japanese carries the connotation of being thoughtful, anticipating the other person's needs and wants and then meeting them etc. It's a characteristic that people often say they look for in their potential partners.

[S: そもそも、なんだ先の言いぐさは好きじゃないだの　出ていきたいだのお前　俺のプロポーズを受けといてよくそんなことが言えんな S: 養ってやる*っつってんだ　プロポーズ以外になに] S: In the first place, what was with those things you said earlier? That you don't like me, that you want to leave... You... that was rich, saying all that after accepting my proposal. S: I was saying I'd provide and care* for you. If that's not a proposal than what is? ["養ってやる" is a pretty possessive way to say I'll provide for you - it's the same word used when referring to parent providing for a child, or an owner providing for a small animal. It's not rude per se, but it does imply a power imbalance. Segasaki actually sort of has a point here because... this is not something you say to someone else unless you're in a relationship ^^;]

S: ていうかお前、俺のこと嫌いなんだ S: どうなの S: Actually about that... so you hate me huh? S: Which is it?

S: ふーん。あ、そ S: Ohh..? I see. ふーん (Ohh..?) - Segasaki says this a lot, especially in this episode. This is another one of those sounds that isn't a word but carries a lot of meaning. It has a dismissive sort of tone to it, like you've already assumed something or when you're pretty nonchalant/not impressed about whatever the other person has said and are just playing along with them by giving them some attention (so again, if you use it wrongly, it can piss people off). Segasaki uses it whenever Yoh goes mute or shy, as a way to tease Yoh - though Yoh seems to think Segasaki is dismissing/not interested in his answer. あ、そ (A, so) - again, Segasaki says this a lot - can be interpreted as "oh really?/I see/is that so?" - Combined with the above, you can see why Yoh often thinks Segasaki isn't interested in his answer, and even when he does recognise it as teasing, he gets too flustered to do anything about it.

This seems to have gotten longer, if you reached the end - congratulations! I hope this makes it a little clearer why it's so obvious to us as the viewer that Segasaki is really quite patient with Yoh, and is waiting for him to come to terms with his feelings, but at the same time so confusing for Yoh, because of the way many of these interactions can be read both ways. In Ep 3, we'll really be able to get into their dynamics because they've got so much more interaction together.

#my personal weatherman #taikan yohou #体感予報 #MPW subtitle corrections #mytranslations #finally got it out #doing a breakdown of the argument was very fun #this is like the most indulgent t/n ever #i am indulging myself the same way segasaki indulges yoh #thanks to everyone for reading my indulgent notes #please geek out with me more #these two are so perfect for each other #sorry I wanted to get Ep 3 and the analysis out before Ep 4 but it's not happening

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