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yuzukahibiscus · 1 year

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“MAYERLING” Roundtable Discussion

(A “Roundtable Discussion” is a KAGEKI section magazine, documenting the talk between the director and the actresses about their performances. This time, I’ve translated the Roundtable Discussion of the ongoing current production of “MAYERLING”. I hope this discussion will allow you to know more about their insights!)

Adaptation/Direction = Koyanagi Naoko

Production = Fujieda Taichi

Actresses = Mikaze Maira, Wataru Hibiki, Minami Maito, Yuzuka Rei, Towaki Sea, Hozumi Mahiro, Hoshikaze Madoka, Seino Asuka, Ichinose Kouki, Hoshizora Misaki

(Discussion below the cut, spoilers may follow)

Fujieda: Starting from January 1 to January 30, 2023, Flower Troupe will be performing the play Musical Romance “MAYERLING” in the Takarazuka Grand Theatre. Script by Shibata Yukihiro-sensei, Adaptation and Direction by Koyanagi Naoko-sensei. Originated from the Claude Anet novel of “MAYERLING”, this performance portrays the tragic love story between the real 19th century Austria Crown Prince Rudolf and the baron’s daughter Marie. The performance was performed many times since its premiere in 1983 and as one of the representative works of Takarazuka, this was a revival after 30 years performing in the Takarazuka Grand Theatre. While trying to bring out the script describing this ephemeral, beautiful and ultimate love unique to Takarazuka Revue and hoping the audience would look forward to this new direction delivered in this 2023 version of “MAYERLING”, everyone from Flower Troupe centred on Yuzuka Rei are altogether, doing their best in rehearsals every day and pursuing the acting they aspire, so please look forward.

Koyanagi: As the producer just mentioned, the premiere of “MAYERLING” was performed by Snow Troupe Asami Rei-san and Haruka Kurara-san in the Takarazuka Grand Theatre. It sparked great discussion at the time, then 10 years later (1993) it was performed by Star Troupe, then after that it was performed again for many times, so for Takarazuka fans, it was one of the representative works they think of when they talk about Takarazuka. It’s been a long while since prologues in grand theatres started on the grand staircase, striking a memorable impression, and the fact that this could be performed in the Grand Theatre after a long while, and the vibe created by the combi of Yuzuka-san and Hoshikaze-san were very suited to this, that is how what brought this rendition in the Grand Theatre. It’s been 40 years since the premiere, and I’ve been able to receive the many scripts used over these years. The foundational thing is hoping to preserve that amazing vibe in the premiere and progressing on with changes that are not drastic. We’re not trying to imitate the past performances, but thinking that it’s essential to create something solidly from this performance, everyone would act their roles as what they are given straightforwardly, taking into account what acting means. I think this is the significance of coming together as one and thinking precisely what we want to create.

Yuzuka: If we talk about Takarazuka, “MAYERLING” is a famous musical like a treasure and I’m nervous but also very happy when I could challenge to perform that in the Grand Theatre. Koyanagi-sensei was really careful to craft the acting and she gave us some lectures about it, teaching her direction one by one, now that I think of it, this process was very fun. When we are to reperform “MAYERLING” again, while holding utmost respect for the performance, I hope to connect myself with the role I’ve received and spend this fun time of pursuing the role.

Conversing with the roles　 Challenging this performance with a new approach

Koyanagi: Then let’s talk about the various roles. First we have Yuzuka-san playing as the Austrian Empire Crown Prince Rudolf.

Yuzuka: I first received the role of Rudolf in “Elisabeth – A Rondo of Love and Death” during the role swap cast (LOL). At that time, I already had a profound interest knowing how the Crown Prince Rudolf lived and knowing about his life. Now that I’m able to have a different viewpoint in a different performance to play the same person, it makes me excited. Now, since Koyanagi-sensei was very precisely teaching us about creating our roles, embodying our roles, studying our roles, by doing these one by one, I actually felt that this role of Rudolf seemed more realistic on the surface. I was very happy to be able to do that, and I’m in the phase where I wanted to know more thoroughly about this person Rudolf.

Koyanagi: This time, I wanted everyone to have a little different approach than before to creating their characters, which is not acting from the prior impression they have for their role. Firstly, when they read the script carefully, I want them to focus on how to make this performance persuasive and close to the theme – such as what this person is thinking and what they would say – helping them pursue deeper into the role, but at the current phase, I don’t think they’re in the state yet to confidently say “The role is like this.” Rudolf is a role that everyone already had an impression in mind of being “this kind of person”, but he’s also a someone multifaceted and one that makes you wonder what his true side looks like and a lot of those mysterious parts remains to be solved. That’s why I decided not to stick with just one archetype of the Crown Prince in a tragedy or a dreamer, but I hope to create him as someone that made the final decision because of various kinds of connections contributing to it...He could be as seen as one of the “turmoils” leading to the end of Habsburg history, but I don’t want to delve into why this “turmoil” happened, rather just deliver as how he is. Now Yuzuka-san is having trial-and-error for studying this role. I hope that towards the end, when she stands on the grand staircase for the prologue, she could really bring that role of Rudolf to life as it is. Then how did Madoka-chan (Hoshikaze) think of the role you’re playing as the baron’s daughter Marie Vetsera?

Hoshikaze: There were many performances portraying about the Habsburgs in this country at this time, and they were showcased in different perspectives. Since there were so many sources I could learn from, I tried not to confine myself to a particular image and studied the script word by word deeply. My objective is trying to interpret and living as the role of Marie Vetsera living in this story. This time when I read the script, even in parts where I would not be on stage, I’ve read all the scenes delicately and precisely trying to understand how all the roles would be played out, and with that, I could have a greater understanding for this production and be able to create my role.

Koyanagi: Even though Marie is someone who existed, there’s also the “Marie” as written by Shibata-sensei, so there’s many ways of shaping the role. In present, we think about what kind of existence Marie serves in this performance of “MAYERLING”. Not confining to the presupposed or fixated perception, I hope that you could see a Marie Vetsera in a novel perspective and see a new kind of Hoshikaze Madoka. How did Yuzuka-san and Hoshikaze-san think about Rudolf and Marie at this phase?

Yuzuka: As Ssensei just said, we’re not trying to bound ourselves to the image of the role, we’re trying to bring forth more of the warmth of the roles and create the essence of the roles. Rudolf is really a complicated kind of person and Marie is also quite like that.

Hoshikaze: (LOL)

Yuzuka: Since she’s a fan of the Crown Prince, she didn’t want to leave Vienna where he is from, right? She’s very insistent and strong-willed about that...Even quite stubborn, right?

Hoshikaze: Yes, yes (LOL).

Koyanagi: When I thought the role with Madoka-chan together, we thought that Marie didn’t leave not because she would feel lonely (without Rudolf) but because she was worried for the Crown Prince. “If I’m not here, I wouldn’t know how would he be feeling, that’s why I don’t want to leave” was the reason why.

Yuzuka: That’s also a way of showing that you like a person, right. It was interesting how Sensei described Marie visiting Rudolf as “going to the room of your idol”. Then when they first met, Marie said, “You always seem so lonely to me”...

Koyanagi: At that time, Rudolf was often at the Prater Park and he was popular amongst the Viennese women so many would probably feel that way if they could enter his room. This performance is where you can feel two kinds of charms from Marie – she has that pure feeling of admiration that’s close to liking him, and also that gentleness and inclusivity of wanting him to support him like a Saint Maria kind of figure.

Yuzuka: (facing to Hoshikaze) But the role suits you. You’ve “become friends” with Marie, haven’t you?

Hoshikaze: (LOL) How should I say it, it’s possible to say that it doesn’t feel like too distant imagining about Marie’s situation...

Yuzuka: Yes, yes, in terms of her mentality.

Hoshikaze: Yes, in terms of mentality. Because of that, I want to know more about her feelings, I want to ask some questions to her to understand her more.

Yuzuka: In that sense, we’re not just creating the picture of the misfortunate Crown Prince and that pure, adorable Marie, but I hope to present this human drama as why they chose this path.

Koyanagi: That’s how it is. Then, we have Rudolf’s cousin Johann Salvator played by Minami-san.

Minami: My honest feeling while reading the script was this is a very difficult role. Be it creating it from the inside, and output-wise he’s a role that is a storyteller to the audience from the start introducing Rudolf and Marie, so at first I’d have to convey the words exactly as they are and it feels like returning back to the roots of being as a stage performer. Practising solidly with myself, working on how to project my voice. About the role, I've spoken to Sensei about the biography booklet I wrote for Johann.

Koyanagi: This time, everyone was given the assignment to write a biography booklet of their roles. That’s how everyone can have some discoveries and there’s no right answer so at first you could write about some ways how you could come closer to acting this role. I also benefited from reading these biography booklet.

Minami: When I was talking with Sensei yesterday, I had a new realisation that Johann was quite a complex person in the House of Habsburgs. Since I discovered and felt a lot from the rehearsal classrooms, it feels like conversing with him every day that I can see how he felt and the face he shows to everyone else. I’m trying to create that different part every day.

Koyanagi: As Minami-san said, Johann Salvator is a role of a storyteller so if you don’t concretely express it with words, you’d lose the characteristics of that role and become a machine merely explaining the story without character and emotion. This is a role where it’s difficult to maintain that balance. I think this is a role that you can’t convince even yourself if you don’t create it solidly from the inside. By (enhancing the persuasion in storytelling) is how you can go for trial-and error and go one level deeper. Then how about Mikaze-san who plays as Marie’s wet nurse Jessica?

Mikaze: While writing for the biography booklet, I didn’t write the full name of Jessica. The teacher pointed that out and I realised I wasn’t familiar with this person yet that I’m playing as Jessica...But now I don’t want to be just the role of Jessica but become her. Sensei did say that the movie “MAYERLING” had a strong impression and I tried watching it. Even though there’s no subtitles and I don’t understand the language, it really felt that the conversations amongst the characters were telling me their message. I realised how important it was to consider what the people were thinking at that time. What does Jessica’s presence mean in the House of Vetseras, how do I want the role to turn out are some of the things I think when creating this character.

Koyangi: That actress was really good at it and very convincing. I thought that as if she was really a Hungarian wet nurse (LOL). There are common patterns like “the maiden’s wet nurse” and the “prince’s servant” but I don’t want to have the conception this time. I’m aiming for this “MAYERLING” to be filled with the totality of the production tone and its chicness. On the Takarazuka stage, we want to go for the approach to be as close as making you imagine what kind of people are living in the houses of Vienna in 1888. From that aspect onwards, I feel that’s how we could have that kind of new wet nurse Jessica created. Then, how does Towaki-san feel about playing Rudolf and Johann’s other cousin, Archdue Ferdinand?

Towaki: In this new version of 2023 “MAYERLING”, I was thinking that one thing changed for Ferdinand. You can see Ferdinand is a good guy at a glance but I felt more how he was having these struggles and resisting them. For Rudolf-san, for Johann-san and also for Ferdinand, even though they have many choices and ways of live to decide on, in order to make Rudolf and Marie’s choice of death stand out more, I created my role thinking about the balance and nature of this role.

Koyanagi: In history, Franz Ferdinand was a famous person known for one of the reasons leading to the outbreak of the First World War. At first, I think it’s interesting that this kind of person is included and portrayed in “MAYERLING”. In history, it’s established that he was a resilient person, but this performance portrays a more tender side of his. "MAYERLING” shows both a “Before” and “After” side of Ferdinand, the latter connected a little bit more on his historical side. It was like feeling how Ferdinand was involved in this. With that kind of story, “MAYERLING” becomes a production overlapping with history. Also by portraying the three cousins Rudolf and Johann and Ferdinand together, you can see how they encountered their respective kinds of fate and lives they led.

Yuzuka: This time, there are scenes where the three dance together and when they talk to each other.

Koyanagi: Yes. That’s what I wanted to create more for the three’s relationship, what do you think?

Minami: ... It can’t be explained in a word.

Everyone: (LOL)

Yuzuka: That’s because from the moment they’re born, there’s a complex relationship coming out of it already.

Koyanagi: It’s a boys’ kind of friendship. But also it can't be explained with just that because the three do have some complicated struggles and other problems they’re dealing with.

Yuzuka: But they do get along. From the roots of it they do get along, but with some other external factors, they’ve become a relationship that can��t be explained with just a word.

Koyanagi: But they’re like normal guys that even though you’re childhood friends, you don’t want to lose to each other and sometimes they have things that they’re always so envious of. This time I think the relationship of the three is like: when politics is involved and they are being used, they are there to comfort each other. But the three standing together is very amazing, that alone is a delightful sight for the audience. Then onto Rudolf’s friends. How does Hozumi-san think about your role as Count Hoyos?

Hozumi: I love this period of history of Vienna. For me that’s living in the modern world, I may think that a change in one person’s behaviour must mean great transformations in history. But if people faced obstacles when they’re in chaos, they’d choose to take action, so I want to convince you Hoyos is also that kind of person. Since he really existed, while interpreting the nature of that period of time, I want to solidify the image of the frame we’re trying to form out of this performance. While continuing the rehearsals, it’s not just about where I should look or how I present my actions, but from the inside, firmly creating the role.

Koyanagi: Even though it’s common that there are friends to the protagonist, if you play those roles, the quality of the performance would be better. It’s great to have characters playing along with the prince, good friends that love wine. But it’s also good to discover that that’s not just it, and look into what kind of people they are and what are these people’s motivations. I look forward to what you are to express to the audience. Then, similarly also playing as Rudolf’s friend Prince Philipp, Ichinose Kouki-san.

Ichinose: I was surprised when I knew I would be playing a prince role (LOL). Playing as Yuzuka-san’s friend also makes me happy and excited to create this character. There were actually a lot of sources that remained for reference, and while speaking to Sensei about the biography booklet I wrote, I started understanding Philipp’s background and his resistance to the political system. There's Rudolf when he’s with his friends, and Rudolf when he’s with his cousins/princes. I hope that I could help make such natural contrast possible.

Koyanagi: Since Rudolf is a multi-faceted person, you can see another side in him when there are these two friends. If you think well about it, you may wonder why this complicated Rudolf who’s often anxious with these two bright people together?

Everyone: (LOL).

Koyanagi: Then towards the end, these two are also the people who actually saw Rudolf’s death, perhaps there’s some similarities that Rudolf shares with these two. Even Rudolf’s adjutant (Note = Captain Maurice played by Misora Maru) spoke with the two asking them “Please help His Highness”, from there you can see Rudolf isn’t really alone.

Yuzuka: Since Rudolf is really different when he’s with his cousins and when he’s with his friends, it’s interesting to bring out both kinds of acting, and his character becomes more dimensional. I’m still at the phase where I’m just “looking up to” Rudolf (LOL) and wasn’t able to think about his relationship with other friends yet, so I hope to become even closer to them.

Koyanagi: Then the two serve Rudolf, first we have the servant Loschek played by Loschek, Wataru-san.

Wataru: Loschek-san exists and gives an impression for me of someone with white hair and a comical character. I thought that would be the correct answer but I reflected again later on. Also Loschek-san was only described as “an old servant” and “reticent”, so he doesn’t speak much and there’s no other places I could present him. I’d have to rely on my actions to play him, but now instead of that, I thought about living and embodying the character from the script, therefore the first important thing is to create such a foundation for it.

Koyanagi: Things deemed acceptable change over time and that goes for actors too. Especially for a role like Loschek, I felt that the way of playing the role changes a lot. In that sense, you’d have to go back to ground zero and create it, and it's a difficult but important thing to bring such a memorable character to life. I hope that this character could be created from scratch to appear in the same place, to create a stage that looks different but the story is the same. Then, how does Seino-san feel about playing Rudolf’s carriage driver Bratfisch?

Seino: Bratfisch is Rudolf-san’s personal driver, and why did Rudolf chose Bratfisch to be close to him? It's probably his personality makes him a comfortable presence that Rudolf could allow him close...Even though that’s still my imagination. I want to bring out this charm of Bratfisch so I wanted to “talk more to him” about it. Also, I’ve discovered so much ideas from his lines. How do I make his role convincing from the lines I speak? As Minami-san has just said, I want to cherish my lines and set objectives for myself as I start honing the foundational parts.

Koyanagi: The same as I said for Loschek, playing Bratfisch is also difficult because it is a role that also changes with time (depending on how the actress plays him). Since he’s also someone that existed, he’s someone entertaining the aristocrats by singing and dancing. In other words, he is a Viennese taiko drummer, and I think Shibata-sensei tried to express that character in that way. The existence of taiko drummer itself may become unfamiliar in modern times, but I feel that it is necessary to devise ways to convey it to the present while preserving Bratfisch from how he looked in the premiere (in 1983). Above all, he’s an existence that was at the start and the end of Rudolf and Marie’s relationship, so I hope (Seino-san) could bring that out too. Then lastly, how does Hoshizora-san think of playing as Johann’s lover Milli Stubel?

Hoshizora: At first Koyanagi-sensei said, “If you’re confused you can talk to the character” and that was a very helpful deep reminder in my heart. So every night, I’d think of being in a cafe with Milli in my imagination (LOL). I hope to discover more about this woman. The script mentioned that she’s a civilian dancer that existed in real life. And from there, I tried to relate it to Rudolf’s suicide note wrote, “Thanks to the love and freedom Milli and you showed me.” To think what is this love? Why did Milli like Johann-san? And I’m in the phase where I just want to ask her many questions.

Koyanagi: I’d think that Milli’s presence could be seen together with Johann and Johann’s presence could be seen together contrasted with Rudolf. In Vienna, she existed in history as a ballet dancer, so when her relationship with Johann worked out, that affected Rudolf. As a way of presenting her, I’d say don’t express too forcibly but just accumulate the acting experience as it goes on and it would help enhance persuasion. It looks like you’ve seen the tip of an iceberg but there’s actually the foundation underneath that this role could make this performance more reasonable and persuasive to watch. From Milli’s biography booklet, we could know that Johann and Milli lived together.

Johann: Oh, I didn’t expect we’re going to talk about that here (LOL).

Yuzuka: Didn’t you write about that (in your biography booklet)?

Koyanagi: Yes, she did. (She wrote) “They were allowed to live together.” (LOL)

Minami: (LOL). Since I believe you can discover a lot from Johann and Milli’s impressions from their conversations, I want to only focus on how to make the conversations matter and as Sensei said, don’t try to overdo it. Because Rudolf must be able to see some kind of image in them, from now on we hope to deepen that so that he could see it acutely.

Koyanagi: Acting is all about preparation. Since it only takes one moment to put everything together in place, how should we create those unseen parts on stage leading to the ending? This is also what we try to do precisely this time, so we hope that the audience could look forward to how we’d present to you.

Roles and the nature of what we want to deliver in this performance

Koyanagi: Then finally from Minami-san, Hoshikaze-san and Yuzuka-san let’s hear about your aspirations (for this performance).

Minami: I have respect for the performance and the role and now I’m rehearsing by simply communicating with my role Johann and hoping to play well as him. Even in the rehearsal stage, the prologue is already very glamorous, and I’m also excited. Then when the curtains open on the grand staircase, it's wonderful seeing everyone on the staircase. The fact that we’re inheriting what’s passed down from generations is unfailing, and I hope that now all of us could do that and show you this greatest performance. We will prepare as much as we could as if we’re making the most of our ingredients, rather than adding more flavour into it.

Hoshikaze: As Minami-san said, it’s really an honour to perform yet another era of “MAYERLING” in the Grand Theatre and even now, I’d also imagine how amazing and glamorous it would be to start 2023 like this. I hope to deliver more than my expectations to the audience, so I’ll continue to converse with Marie in this performance. Because there is so much to learn more about her relationship with Rudolf-san and because there are many emotions coming out of this, I’d like to enjoy the rest of the rehearsals from that.

Yuzuka: Even in rehearsals, I still think “MAYERLING” is such a wonderful performance. The story is interesting on its own. The moment you hear the opening theme song, it reverberates in your heart like “It’s starting!” as you feel the power of the harmony, and the echoing of the live orchestra in the Grand Theatre, which is why now I’d look forward to it. With Koyanagi-sensei as the director this time, you can feel from every bit of the stage setting how gloomy the depressing vibes of the House of Habsburgs was, but also conveying that kind of royalty and solemnity. As we just mentioned about delivering a “chic MAYERLING”, the costumes are of high quality and fashionable, giving a touch to the era of the time, so I’m very excited to walk on stage in that ambience. Also personally for me, I’m not the best person at expressing what kind of person a certain character is...I think acting is about a way of presentation showing how a person is, and even though there are parts different from history, I hope Rudolf-san in heaven would think “I didn’t expect you to think so deeply”, so I want to cherish and value this time to learn more about him. While holding respect for him, I hope to create this performance as we all follow Koyanagi-sensei’s instructions and enjoy the fun of acting.

Koyanagi: There may be parts that confuse them since the approach was different than normal, but I could feel that everyone was working positively and having fun so the rehearsal room felt alive. I wasn’t always working as Shibata-sensei’s assisant, but to help everyone converse with their roles, I also asked my sensei how I should do it. Now I'm still unable to answer "why I’m the director this time” (LOL). Shibata-sensei was someone passionate about the completion of a work, and had the love for the siennes, and the enthusiasm to teach them. I thought if I learn from such a mindset, (”MAYERLING”) would turn out to be a good performance. The significance of performing “MAYERLING” this year is aiming not to forget the nature of the performance, and most importantly never stop loving the Takarazuka siennes. So I will remember these two points deeply in my heart so that when the curtain opens Shibata-sensei could say, “You are working hard!”. Everyone, let’s do well altogether.

Everyone: Yes!

#yuzuka rei #hoshikaze madoka #minami maito #flower troupe #takarazuka #takarazuka revue #hibiscustranslation

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batangtamad · 2 years

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Love Nest (Manga)

Genres: Yaoi, Slice of Life

Status: Completed

Author: Minaduki Yuu

Favorite Character: Hozumi Masato

Favorite Chapter: Chapter 8

Plot Synopsis:

After being heartbroken by his crush from college, Hoizumi ventures into the world of homosexuality. After frequenting a certain gay bar, he becomes friends with the master there. Tired of living in his apartment with the noisy children above him, Hoizumi has some luck and the Master of the bar offers to let him live in his second home. However, Hoizumi doesn't find out until after he moves that he will have a roommate named Asahi. Can these two new roommates overcome their differences and become friends? Maybe even something more?

The story is great and unique. I love the karma concept. Sometimes Naru acts mean and nasty, especially when he helped Masato and then he back-stabbed him by telling his past to Asahi and Kou. But thanks to that, Masato realized how painful it felt for what he did to others, and that's how he changed instantly. Also, Naru was hot, especially when he was kissing Masato.

Masato is cute, kind, but at the same time a prankster, and an ass for breaking couples up. It's not his fault fully, as he said couples already have problems. Also, as Asahi said, there are people that get too absorbed by their own grief that they end up attacking other people, and Masato really regrets it, which is something I also like. The characters development is great, especially Masato, and Asahi.

I also love and want friendships like Masato and Marie.

#Love Nest #manga #yuuchan #animechan

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senjo · 4 years

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#revolutionary girl utena #shoujo kakumei utena #mitsuru tsuwabuki #mari hozumi #anime cap

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applepi00 · 4 years

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Emi Liveblogs: Revolutionary Girl Utena Ep18, Mitsuru’s Impatience, part 2

Love this parallel. The first time is as a fumbling innocent attempt at a kiss because Mari said someone that actually had a kiss was more of an adult than someone who had seen a hundred. And the second, the frame flipped and it’s Black Rose!Mitsuru ready time steal Nanami’s soul sword in a twisted perversion of the innocence he started with.

I don’t like the way the shot separates them like this. I mean I get it’s to show the actual separation between then growing but still. It’s unsettling.

There’s two swords because Nanami, while working on it!, is still reliant on her brother, by extension Mitsuru is relying on her to define him, hence the double swords.

Another scene where everyone assumes sex, but this time clearly explicitly stated to be something else that defines “adulthood”.

Of course it’s the “childish” chocolates Mitsuru threw away earlier. But why the weird statues? And why do they have a smaller one within?

Y’all need to stop cutting my girl’s hair.

I am disturbed that there’s a silhouette small enough for him.

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cruger2984 · 5 years

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La Corda d'Oro and its Saints Part 2: July to December

Here’s the second part of some of the characters from La Corda d'Oro, and here they are!

July 5th - Mari Tsuzuki

St. Anthony Maria Zaccaria: Italian confessor who was an early leader of the Counter Reformation, promoter of the devotion to the Passion of Christ, the Eucharist and the renewal of the religious life among the lay people, and is the founder of the Clerics Regular of St. Paul aka the Barnabites. Canonized as a saint by Pope Leo XIII in 1897, his major shrine can be found at San Paolo convent in Milan.

July 8th - Shiro Hozumi

St. Grimbald (Grimwald): Abbot and confessor from the Benedictine order. Although of dubious historical accuracy, the life of Grimbald was recorded in several volumes, of which the main source is referred to as the Vita Prima of St. Grimbaldi. King Alfred met Grimbald before his reign, and after his coronation invited Grimbald to England around 892. After he died in 901, he was venerated as a saint and confessor, and some altars were dedicated to him. He also figures in a number of legendary tales of Oxford.

July 25th - Ryoutaro Tsuchiura

St. James the Greater: One of the twelve apostles of Christ and is described as one of the first disciples to join Jesus. The Synoptic Gospels state that James and his brother John, were with their father Zebedee, by the seashore when Jesus called them to follow him. He is the first apostle to be martyred at the hands of King Herod Agrippa according to the Acts of the Apostles. The traditional pilgrimage to the grave of the saint, known as the ’Way of St. James’, has been the most popular pilgrimage for Western European Catholics from the Early Middle Ages onwards. An even later tradition states that he miraculously appeared to fight for the Christian army during the legendary battle of Clavijo, and was henceforth called Santiago Matamoros (James the Moor-slayer).

August 21st - Housei Toki

Pope St. Pius X: 257th bishop of Rome who reigned for 11 years, and is known for vigorously opposing modernist interpretations of Catholic doctrine, promoting liturgical reforms and orthodox theology. He directed the production of the 1917 Code of Canon Law, the first comprehensive and systemic work of its kind. He was devoted to the Marian title of Our Lady of Confidence; while his papal encyclical Ad diem illum took on a sense of renewal that was reflected in the motto of his pontificate and he was also advanced the Liturgical Movement as the only Pope to favor the use of the vernacular language in teaching catechesis, he encouraged the frequent reception of holy communion, and he lowered the age for First Communion, which became a lasting innovation of his papacy. After his death, a strong cult of devotion followed his reputation of piety and holiness.

August 26th - Keiichi Shimizu

St. Alexander of Bergamo: He is the patron of Bergamo, North Italy, as well as Capriate San Gervasio and Cervignano d'Adda. He may simply have been a Roman soldier or resident of Bergamo who was tortured and killed for not renouncing his Christian faith. Details of his life are uncertain, but subsequent Christian stories consider him a centurion of the Theban Legion commanded by St. Maurice.

September 3rd - Yukihiro Yagisawa

Pope St. Gregory the Great: 64th bishop of Rome who reigned for 13 years and is the last imperial Roman Pope. He is the first formally to employ the titles Servus servorum Dei (‘Servant of the servants of God’) and Pontifex Maximus ('greatest priest’). He is also establish the Gregorian chant and is known as 'the Father of Christian Worship’.

October 1st - Chiaki Tougane

St. Thérèse of Lisieux: French virgin, mystic, and nun from the Discalced Carmelites and is known for the monicker, ’The Little Flower’. She has been a highly influential model of sanctity for Catholics and for others because of the simplicity and practicality of her approach to the spiritual life. Together with Francis of Assisi, she is one of the most popular saints in the history of the church and she is called her 'the greatest saint of modern times’ by Pope Pius X. She is well-known throughout the world, with the Basilica of Lisieux being the second most popular place of pilgrimage in France after Lourdes. According to the Apostolic Letter, Divini Amoris Scientia (The Science of Divine Love), Pope St. John Paul II declared her the Doctor of the Church on October 19th, 1997.

October 17th - Shinobu Ousaki

St. Ignatius of Antioch: Early Christian writer, bishop of Antioch, martyr and one of the Church Fathers alongside St. Clement and St. Polycarp. He may have known the apostle John directly, and his thought is certainly influenced by the tradition associated with this apostle. En route to his martyrdom in Rome, Ignatius wrote a series of letters which have been preserved as an example of the theology of the earliest Christians. He is the second after Clement to mention the Pauline epistles.

November 3rd - Shoko Fuyuumi

St. Martin de Porres: Known for his monicker, ’Saint of the Broom’, he is a Dominican lay brother from Peru and is noted for his work on behalf of the poor, establishing an orphanage and a children’s hospital. He maintained an austere lifestyle, which included fasting and abstaining from meat. Among the many miracles attributed to him were those of levitation, bilocation, miraculous knowledge, instantaneous cures, and an ability to communicate with animals, hence his attributes that is saw in his holy card. He is the patron of hairstylists, mixed-race people, innkeepers, public health workers, and all those seeking racial harmony.

November 12th - Aoi Kaji

St. Josaphat Kuntsevych: Archeparch of Polotsk who martyred by an angry mob in Vitebsk Voivodeship in the Polish-Lithuanian Commonwealth (now in Belarus). Beatified by Pope Urban VIII and canonized as a saint by Pope Pius IX. He is known as the patron saint of Ukraine.

November 14th - Leiji Myoga

St. Lorcán Ua Tuathail (Laurence O'Toole): Irish archbishop at the time of Ireland’s Norman invasion, and is played a prominent role in the Irish Church Reform Movement of the 12th century and mediated between the parties during and after the invasion. In 1225, Pope Honorius III canonized him as a saint.

December 3rd - Arata Mizushima

St. Francis Xavier: Along with Ignatius of Loyola, he is the co-founder of the Society of Jesus (aka Jesuits). Known as the ’Apostle to the Far East’, he is one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris, in 1534, and led an extensive mission into Asia, mainly in the Portuguese Empire of the time and was influential in evangelization work, most notably in India. He also was the first Christian missionary to venture into Japan, Borneo, the Maluku Islands, and other areas. In those areas, struggling to learn the local languages and in the face of opposition, he had less success than he had enjoyed in India. Canonized as a saint by Pope Gregory XV in 1622, he is the patron saint of foreign missions. Pope Pius XI published the decree ’Apostolicorum in Missionibus’, naming Francis Xavier, along with Thérèse of Lisieux as co-patrons of all foreign missions.

December 12th - Kazuki Hihara

Our Lady of Guadalupe (Nuestra Señora de Guadalupe): A Marian title that is associated with a venerated image (in the form of a tilma by St. Juan Diego) enshrined within the Minor Basilica of Our Lady of Guadalupe in Mexico City. On October 1895, Pope Leo XIII granted the image a Canonical Coronation. Since then the Virgin of Guadalupe has been proclaimed ’Queen of Mexico’, ’Patroness of the Americas’, ‘Empress of Latin America’, and ’Protectress of Unborn Children’. On July 16th 1935, she was also proclaimed ’Heavenly Patroness of the Philippines’ by Pope Pius XI both witnessed and signed by Cardinal Eugenio Pacelli, a designation he later rescinded in 1942 upon becoming Pius XII.

December 29th - Daichi Sakaki

St. Thomas Becket: English Archbishop and martyr who was well educated and quickly became an agent to Theobald, Archbishop of Canterbury, who sent him on several missions to Rome. Becket’s talents were noticed by Henry II, who made him his chancellor and the two became close friends. When Theobald died in 1161, Henry made Becket archbishop. Becket transformed himself from a pleasure-loving courtier into a serious, simply-dressed cleric. In 1170, four knights, believing the king wanted Becket out of the way, confronted and murdered Becket in Canterbury Cathedral.

#random stuff #catholic #catholic saints #la corda d'oro #mari tsuzuki #shiro hozumi #ryoutaro tsuchiura #housei toki #keiichi shimizu #yukihiro yagisawa #chiaki tougane #shinobu ousaki #shoko fuyuumi #aoi kaji #leiji myoga #arata mizushima #kazuki hihara #daichi sakaki

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bestutenacharactertournament · 2 months

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Suzuki, Yamada and Tanaka were not included because the poll only had 12 options and i had 13 characters. They were chosen because they had the lowest percentage. If you don't agree, please tell me so!

#this is me grasping onto my last hope of getting juri to at least the second matches 🙏🙏#revolutionary girl utena #rgu #best utena character #best utena character tournament #akio ohtori #touga kiryuu #aiko wakiya #mitsuru tsuwabuki #mari hozumi #kozue kaoru #mamiya chida #prince dios #ruka tsuchiya #yuko ohse #kanae ohtori #juri arisugawa

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filliteapot · 3 years

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i live for josei manga! it seems like there are so many series that never get a release outside of japan tho. :( what are your favorites that you would recommend?

Okay, I made some lists in the past and I’m not taking any of those I had put there back, but I wanted to make a new list of recs for a while, so I guess it’s high time to do so.

All time recs:

Ikuemi Ryo’s works: my faves are Kiyoku Yawaku, Taiyou ga Miteiru, Principal, Anata no Koto Wa Sorehodo. But. Pretty Much everything by Ikuemi is worth checking.

Tamura Yumi’s works: the obvious 7seeds and Basara aside, I beg you, read her Neko Mix Genkitan Toraji. Also, she has some quality oneshots like this one.

Okazaki Mari’s works: & (I didn’t like it when I first tried to read it, but last year I opened it and it got to my heart), Tomodachi Ijou (second oneshot is something I reread to feel better) and Suppli (love from the first page I saw)

Nishi Keiko’s Otoko no Isshou (it has some things I don’t rly like reading about and yet it owns my heart) and Koi to Gunkan (sadly, translation was dropped)

Umino Chica’s Honey and clover (and 3gatsu no Lion)

Higashimura Akiko’s works: Kakukaku Shikajika (her best work imo) and Tokyo Tarareba Musume

Yazawa Ai’s works

Attention: I know that some of these go as shoujo or seinen but it’s just bc they were published in shoujo/seinen magazines which doesn’t change the fact that these are Josei Authors to me and frankly I don’t give a damn about how they are labeled so no need to tell me about it. Thank you very much.

Stories I mention less often:

Konishi Asuka’s Haru no Noroi

Watanuki Yoshiko’s Manatsu no Delta (a real jem imo, keeping an eye on this author from now)

Fumino Yuki’s Saraba Yoki Hi (I feel like when Ikuemi’s TGM ended the Universe tossed this one to me bc it knew I needed something else with the same lvl of pain and ability to make me rage and want to die while reading but not dropping the series)

Omoide no Toki Shuurishimasu by Tani Mizue (story) and Yamaguchi Izumi (art) - I read it years ago on otakumole, not sure if there’s translation anywhere else.

Hozumi’s Usemono Yado

Ninomiya Tomoko’s Nodame Cantabile

Katsuta Bun’s Chikutaku Bonbon and Daddy Long Legs (oneshot collection)

Kazuno Tani’s works (Her oneshot In The Pocket is the right mix of slice of life and fantasy-or-was-it-a-dream-like experience which I appreciate so I want more of her works)

Ima Ichiko’s Hyakki Yakoushou (not romance, darker fantasy with Japanese folklore creatures)

Kodama Yuki’s works (her stories are not my 100% faves, but I love the art and the nostalgic atmosphere)

Morimoto Kozueko’s Koudai-ke no Hitotobito (for the humour and The Poor Little Bjorn)

Yoshimura Akemi’s Bara no Tame ni (the main romance annoys me so much but this series overall does have good things so I’m putting it here)

Tanikawa Fumiko’s works (cute romance oneshots mostly)

Things that caught my attention that I still need to check out myself:

Ikebe Aoi’s works (Zassou-tachi yo Taishi o Idake)

Nanamaki Kanako’s works (Minato Machi Neko Machi)

Yoshinaga Fumi’s Ooku (an award winning thing, I’ve read the first volume and wanna continue bc it is interesting indeed but I can’t read it with a lighthearted attitude)

Shimura Takako’s Koiiji (I feel like I’ll be raging a lot while reading about unrequieted love and bad life decisions but I’ll check this one)

Opening a New Rubric: Things I Want Translated

Sugita Kei’s Chouyaku Hyakunin Isshu: Uta Koi. I yelled about it so much last year, so I want to mention it here too. The anime for Uta Koi is a rec too, but the manga has more stories and contents.

Okazaki Mari’s Suppli (I’m that “let me in” meme but “let me read it let me reaaaad” as this story got me caught with raws only - I knew it was over for me when I saw this page)

Kuramochi Fusako’s Tennen Kokekko and Tsuki no Pulse (in love with her style and wishing to get Tsuki for personal reasons)

Itoi Key’s Hana to Hoho (I loved the summary and Nishi Keiko’s comment on it, would love to read it one day)

Isoya Yuki’s Nagatan to Ao To (for the sake of Yearning and Food)

Iwamoto Nao’s works (they look so interesting and I love the style)

Nemu Yoko’s Sandaime Kusuriya Kyuubee (several oneshot collections of hers are translated, but I’m not really into them, and I want to read her longer series much more)

Ikuemi’s new series: Ichinichi Nikai and her adaptation of the novel Eine kleine Nachtmusik (looked through chinese raws > cried bc of Ikuemi’s powerful storytelling getting to me even past the language I don’t understand at all)

Anything by Katsuta Bun

Webtoons - I’m (sooo) not a big fan of this format but there are good josei-like stories in it so I decided to mention them too:

Yaggug’s Unlucky Mansion

Go Ara’s stories (some of them are pretty much pessimistic but ugh they hurt me and left a mark – yeah I’m looking at you, Teenager Younghwa)

Kim Ji Hyo’s Hans and Emily (I got such a good fairytale feeling from this one and loved the style)

Uni life stories like Cheese in the trap or Love Barometer (I enjoyed them pretty much in the past, though I haven’t finished both stories yet)

This is it. For now. I’m not sure what you expected from me when asking about josei recs, but I guess now you can see how much I love talking about it. :“)

Of course, the new josei suggestions (and asks about stories in general) are always welcome.

#replies #josei #recs #josei recs #i didn't find my old recs post so it's gonna be a tag #long post

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just-a-ygo-fan · 4 years

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SEVENS Episode 6 Cast List

Episode 6: 御麺(ごめん)！ラーメンデュエル! – Gomen! Rāmen Dyueru!

(I Beg Your Ramen! A Ramen Duel!)

Rush Dueling has been spreading throughout the city thanks to Goha Seventh Elementary School’s newspapers. When Yuga and his friends check the news, they find out that their favorite restaurant will be closing. And so, they rush to the restaurant in order to eat the restaurant’s famous ramen before it closes! However, they’ll have to face Menzaburo, a Gourmet Duelist. And so, a never-before-seen Ramen Duel over the restaurant owner’s last ramen unfolds!

Cast:

Odo Yuga: Ishibashi Hiiro

Kamijo Tatsuhisa (Rook): Yashiro Taku

Sogetsu Gakuto: Hanae Natsuki

Kirishima Romin: Kusunoki Tomori

Kaizo: Kobayashi Yusuke

Oomori Menzaburo: Nagumo Daisuke

Restaurant Owner: Goda Hozumi

AI Robot: Kumagai Kentaro

Schoolgirl: Mari Uchiyama

Customers: Yamane Masashi, Kawamura Rie

Script: うえのきみこ || Ueno Kimiko

Credits: DMC3444

#sevens #sevens spoilers #cast lists

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my-monochrome-feels · 6 years

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Sorry for the long wait! I’ve read hundreds of manga and I don’t have the best of memory so I might’ve left out a few(I’ll update if I find some) and I tried my best finding ones that suits what you’re asking for so enjoy <3

~Titles and author under the cut~

I’ll bold the ones that I particularly like more than the others (〃＾▽＾〃). Remember to prepare some tissues <3 Anyway, here’s my recommendations of manga with sad love :

49 (Touda Yoshimi)

Boku no Hitsugi de Bansan wo (Kusakawa Nari)

Boku no Negai ga Kanau nara (Mamura Mio)

Boku wa Kimi no Shiro (Shimokitazawa Mitsuo)

Bokura no Polaris (Fujii Aya) (Chapter 1)

Daremo Shiranai Heya (Sakurada Hina) - It’s quite disturbing so beware

Chikyuu Umare no Anata e (Ubukata Tow, Mase Azusa)

Chouchougumo (Ashihara Hinako) (Chapter 1)

Furenai Koibito (Matsukawa Nao)

Hotarubi no Mori e (Midorikawa Yuki) (Chapter 2 & 4)

Just Be Friends (Mogelatte)

Kanojo no Namida ga Yuki da Toshitara (Minamori Koyomi) (Chapter 1 & 2)

Transient Flower (Harumi Chihiro)

Koi Koinegau (Izumi Haruka)

Koi Kyokusei (Mitsuya Omi)

Kyou no Kira-kun (Mikimoto Rin)

Mikansei na Bokutachi (Touda Yoshimi) (Chapter 4)

Mugen Dokei (Saitou Ken)

Once Again (manhua) (Feng Xi, Shen Lei, BUDDY)

Orange (Takano Ichigo)

Piece (Ashihara Hinako)

Rec: Kimi ga Naita Hi (Makino Aoi)

Sayonara, Hero.(Koizumi Ren)

Shisei (Yokobaba Ryo)

Tada, Kimi wo Aishiteru (Yoshino Aki)

Tokyo Lastochika (Miyoshi Furumachi)

Tsuki no Waltz (Mitsuki Kako) (Chapter 1& 2)

Usemono Yado (Hozumi) - A VERY WHOLESOME, SAD, BITTERSWEET, HEART-WRENCHING LOVE STORY PLS READ!

Usurai ni Saku (Nanbe Watari)

Watashitachi no Shiawase na Jikan (Yumeka Sumomo) - A very sad and depressing love story, it might be too dark for you but I definitely recommend!

World End Garden (Shiina Dai)

Yawarakai Kara (Okazaki Mari) (Chapter 3)

Yowamushi Mekiyuu (Minami Kanan)

Yukionna Gensou: Michiyuki-hen (Andou Ikori)

Yume Kurai (Saitou Ken)

And that’s it! If you want to recommend manga that’s not mentioned here but worth reading, send an ask or reply here <3

#manga recommendations #manga rec #this took me awhile #but i had fun making this #manga with sad love #sad love #sad romance #tragedy #mmf posts

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gyakutengagotoku · 7 years

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GSvsAA - Dual Destinies - Character Profiles

In line with the AJ one, here’s the next in the line up. Check the master post more more of the GSvsAA translation project.

It’s worth noting that while Mr. Takumi is known to have some very obvious or random inspirations for his name puns, there are times when it’s tricky to figure out because of his choice of punny origins. Meanwhile, Mr. Yamazaki & co. tend to follow suit with the obvious, but their puns are often very straightforward and easy to deduce. Sometimes, a name has multiple layers of puns and chances are good that plenty of those puns make their way into the character’s design.

I don’t think it’s lazy design, since simplifying a character’s role in a plot means more care can be taken for the actual mystery, but sometimes it leaves something about the character to be desired. Then again, there are plenty of characters from the first four games in the series that aren’t so memorable.

I’m just obsessed with this series so I know them all. Ha.

Edit: SoJ profiles posted.

Spoilers below.

Main cast

Athena Cykes - Kidzuki Kokone (希月心音) kidzuki means “awareness” (kinda following how Trucy is named Minuki) and the second kanji in her surname is “moon”. The kanji in her given name, when pronounced shin’on, means “heartbeat”. It can also be translated literally as “heart sound” to refer to her ability to hear people’s voices of their hearts.

Simon Blackquill - Yuugami Jin (夕神迅) yugami means “distortion” or “twist”, referring to his epithet, “The Twisted Samurai”. The kanji form a phrase meaning “god of dusk”. jin, written as 刃, is “blade”; while the kanji in his name means “swift”. It’s analogous to Edgeworth’s name, Mitsurugi, which is the name of a noble blade of legend. Trivia: He refers to the chief in person using the term danna, a title reserved for Lords and noblemen back during the days of samurai. Since this couldn’t be replicated in English without sounding drastically out of place, it’s been tamed down to a plain “sir”. (Imo, he could very well have gone with “sire” and it’d be just the right amount of tradition and respect, but I guess it doesn’t quite sound Japanese enough.) Incidentally, Taka is Gin, which can mean “silver”, or possibly like the English word (but it’s pronounced with a hard G).

Bobby Fulbright - Ban Gouzou (番轟三) The ban in his name may refer to a “guard”, though being written as 万 means “many”. Combined with his first name, which consists of “booming” and “three” (like in “two’s company, three’s a crowd”), you get a whole lot of bombastic in one guy. Trivia: His catchphrase is shouting “JUSTICE!!!” in English at the top of his lungs and laughing triumphantly. Imo, the localization's “In Justice We Trust!” has a certain nuance to it that really makes it pop when you realize just who he is, though.

Yep, that’s it. That’s the game. These three right here.

Episode 1

Gaspen Payne - Auchi Fumitake (亜内文武) “Auchi” is simply “ouch”. His first name is the same as his brother’s but flipped. fumi (文) is “literature”; take (武) is “martial”. I suppose both of them are warriors of words, but I really think their parents the devs just ran out of ideas.

Juniper Woods - Morizumi Shinobu (森澄しのぶ) mori (森) is “forest” or “woods”; shinobu means “to hide”. Meanwhile, the kanji for zumi (澄) used in the verb sumasu becomes “to look prim” or “to listen carefully”. These two definitions better relate to her from Episode 3, though. Trivia: In the Japanese version of this episode, the crime scene shows in English letters: “S I N O B U”. Since Japanese is typed using romaji, し can be either shi or si. Either way, it’s still pronounced the same. If it weren’t obvious enough from the intro, this spelling would have easily given away the real killer.

Ted Tonate - Barashima Shingo (馬等島晋吾) barasu can mean a few things: “to expose”, “to take apart”, or “to kill”. He already covers the latter two in the first case, but the first definition doesn’t quite play in until the last one. The last syllable of his first name ties into his first name to make mashingo, or “machine language”; hence the keyboard.

Candice Arme - Kaku Hozumi (賀来ほずみ) Her full name can be written as 確保済み, meaning “in custody”. kaku may refer to “square”/”cube”; probably referring to how she’s been hit. Her surname and the first syllable of her first name make kakuho, or “guarantee”, which seems to play into her English name.

Edit: Well, I totally screwed up this entry. My bad.

Episode 2

Jinxie Tenma - Tenma Yumemi (天馬ゆめみ) Her surname as written here refers to the “heavenly horse” Pegasus. yumemiru means “to dream”. More on Tenma below.

Damian Tenma - Tenma Deemon (天馬出右衛門) His first name comes from “demon”. Tenma, which is also the name of the village, is written as 天魔. It refers to the yokai of the Buddhist sixth heaven in the realm of desire who haunts people and deceives them into avoiding good. According to legend, Tenma tried (and ultimately failed) to lure the young Siddhartha away from enlightenment with earthly desires. Tenma Taro from this game is based on this Tenma. In Japanese folklore, he's described to have a bird-like appearance, hence we have jangly-cackling-bird-demon.

The Great Nine-Tails - Great Kyuubi (グレート九尾) He’s based on the Nine-tailed fox of Japanese legend, a yokai of immense power and influence and sometimes disastrous consequences. You know the one.

Rex Kyubi - Kyuubi Ginji (九尾銀次) His last name is the same as the Nine-Tails. The gin (銀) in his name refers to his silver hair and to the Nine-tailed fox of legend, which is often portrayed as silver. ginjiru also means “to chant” or “to recite”.

Phineas Filch - Zeniarai Kumabee (銭洗熊兵衛) zeni, as written above, is “money”. (This is what Capcom’s fictional currency zenny is based on.) His last name is a reference to the azukiarai, “The Bean Washer”, a yokai who resembles a small boy that keeps people up at night with the sound of washing beans. Filch here claims that he’s the grandson of an infamous thief who once kept people up by the sounds of his money-washing. His first name is made of bears: kuma (熊) and “bear”; yet he’s frequently called a tanuki instead, especially for his swindling ways.

Edit: Got that the other way around.

Florent L’Belle - Biyouin Shuuichi (美葉院秀一) biyouin is “beauty parlor” and shuuichinichi is “once a week”. The kanji in his first name come to “excellence” and “[number] one”.

Episode 3

Aristotle Means - Ichiro Shinji (一路真二) The kanji in his name together mean “one road, two truths”. ichiro, with the same kanji, means “straight” or “directly”, and shinjiru means “to believe”.

Constance Courte - Michiba Masayo (道葉正世) michibata is “roadside” and masa (正) is “right” or “just”, to parallel Means’ name above.

Hugh O’Conner - Shizuya Rei (静矢零) His name is most likely picked for the convenience of the recording that’s played during trial. In Japanese, the muffled recording sounds like it’s saying “Koroshite yare!”, which is Japanese for “I’ll kill you!” Thanks to Athena’s efforts, she reveals it’s actually supposed to say “Kora! Shizuya Rei!”, or a scolding “Hey! Shizuya Rei!” The kanji of his last name are “quiet” and “arrow”. His first name can also mean “zero”.

Edit: This one I made a mistake due to mistaken memory. It’s actually kinda hard to make out the te sound in the recording, so I assumed it was excluded.

Robin Newman - Atsui Chishio (厚井知潮) atsui is “hot”; it can also mean “hot-tempered” or “passionate”. chishio is “blood circulation”, usually referring to hot-headedness. It also doubles over as a gender-ambiguous name.

Myriam Scuttlebutt - Uwasa Atsume (宇和佐集芽) uwasa is “rumor” and atsumeru is “to gather”; thus, her full name comes to “gather gossip”. Trivia: Producer Eshiro is a huge MGS fan; hence Myriam’s M.O. of traveling under the cover of a box.

Episode 4-5

Solomon Starbuck - Hoshinari Taiyou (星成太陽) His name comes from the phrase “hoshi ni naritai yo”, which means “I wish to become a star”. taiyou, as written above, means “sun”.

Clay Terran - Aoi Daichi (葵大地) aoi is the color “blue”. daichi is “ground” or “earth”; also refers to the planet itself. His relative calm and the color blue was chosen specifically to pair with Apollo’s bright and passionate red. (In fact, it may very well have been the localization’s choice to name Odoroki as Apollo that led to the development of this game’s space theme. I don’t remember if it was mentioned in an interview or not, but I’m sure it played some role.)

Yuri Cosmos - Oogawara Uchuu (大河原有忠) His last name means “bank of the great river”, which is a reference to the Milky Way. It’s known as “The Great River” in several cultures, including Japanese. uchuu, written as 宇宙, means “space” or “universe”.

Aura Blackquill - Yuugami Kaguya (夕神かぐや) Kaguya is a reference to a famous Japanese folktale from the 10th century, Tale of the Bamboo Cutter. The main character’s name is Kaguya-hime, or Princess Kaguya, who was one of a mysterious people living on the Moon but was sent down to Earth and raised by an old bamboo cutter. I’m not too sure if this tale inspired her English name, but when Princess Kaguya was discovered as a baby, she was described to be the size of a thumb and glowing with brilliant light. The Moon people were weird. (I can also draw the parallel to Simon’s Taka, since Aura may come from the Latin root aurum for “gold”.)

Ponco & Clonco - Ponko & Ponta (ポンコ＆ポンタ) ko and ta are common endings to boys’ and girls’ names, respectively. Aura also likes to call Clonco “Ponkotsu”, referring both to how he’s basically “Ponco #2″ and ponkotsu, “junk”.

Metis Cykes - Kidzuki Mari (希月真理) Her first name can also be pronounced shinri, meaning “truth”. In turn, shinri, when written as 心理, means “psychology”.

DLC Episode

Sasha Buckler - Umino Shouko (羽美野翔子) umi is “sea”, and shouko, written as 証拠, is “evidence”. Thus, her full name becomes “evidence from the sea”. The first kanji in both first and last name have to do with “feathers” and “flight”. She’s quite a flighty personality for sure.

Ora "Orla" Shipley - Arafune Elle / Ale (荒船エル / エール) Her last name is made of the kanji for “wild” and “ship”. Her name is Ale, as a shortened form of “whale”, but it doubles as the alcoholic drink too. Actually, it triples as “air”, to complement her trainer. Her supposed real name is actually her sister’s name, and it seems it was just picked to sound similar.

Jack Shipley - Arafune Ryouji (荒船良治) ryouji as 療治 means “treatment”/“cure”, possibly referring to how he saved two precious orcas and returned them to health.

Norma DePlume - Uratori Reika (浦鳥麗華) uratori refers to “gathering evidence” as for a news story. reika as 冷夏 becomes “cool summer”. It can even be written as 零下 to mean "sub-zero". She’s quite the contrast to the rest of the sunny crew.

Edit: Note to self: simplify.

Marlon Rimes - Itsuka Ikuya (伊塚育也) itsuka means “someday”; the kanji iku (育) means “raise”, as in pets or children. In other words, he’ll “become a real trainer someday”. His name may have been chosen for its easy rhyme as well.

Rifle (ライフル) She was named for her dangerous temper, and probably as a shout-out to Mr. Takumi’s naming of Missile. Her daughter Sniper also keeps the same name.

Herman Crab - Sugomori Gaku (巣古森学) His last name may be referring to su-komori, or “nest-babysitter”, since he keeps li’l Sniper up there. Even the first kanji in his last name is the right one for “nest”. gaku as above is “learning” or “study of” a subject.

Azura Summers - Natsukaze Suzumi (夏風邪涼海) natsukaze means “a summer cold”, but it can also literally mean “summer wind”. It was picked probably as a stark contrast to Norma’s Japanese name. suzumi is “cooling off”, like outdoors in the breeze.

#i translate #gsvsaa #dd #character profiles #turnabout countdown #the monstrous turnabout #turnabout academy #the cosmic turnabout #turnabout for tomorrow #turnabout reclaimed

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