both are mk!

Yuri on Ice BD choreography commentary translation - Volume 2

Awfully behind schedule due to my throat dying because of all the air conditioning at work and other stuff stealing my time, but here it is finally, the last part of the BD/DVD vol.2. Once again it’s a translation of the complete script. The commentary is by Kenji Miyamoto & Mitsurou Kubo. This time it’s Yuri’s SP and Yuuri’s FS.

Notes:
-It’s two people talking, not a written interview, so expect them to hop from one subject to another within the same sentence… Even if it sounds a bit unconnected at times, that’s how they said it.
-I still arranged it a little to make it easier to understand as written material, by removing lots of “ehm” “uuhm” “you know” “yes” (I especially removed all instances where someone says “yes” in the middle of the other speaking) and fumbled words.
-Amusingly enough both their initials are KM/MK, but I used the surname initials so M is Miyamoto and K is Kubo.
-I put (LOL) when they’re laughing because otherwise some lines might sound serious while they’re actually joking.

***VERY IMPORTANT***
Do NOT use this translation for subtitles, in ANY way.

I don’t support the upload of bonuses contained in BDs/DVDs, as they are meant to be (as the word says) bonuses for the people who spent money to purchase them. If you like a series so much that you absolutely need to watch the bonus contents, please buy the BDs/DVDs.


Kubo: Hello, I’m the original planner Mitsurou Kubo.
Miyamoto: Hello, I’m the choreographer Kenji Miyamoto.
K: Ah, Kenji-sensei. It’s been a while.
M: It’s been a while.
K: Ok, today we are going to look back on the choreography of Yuri Plisetsky’s short program, “Ai ni Tsuite ~Agape~”. This time, for the first time, Kenji-sensei is not the one performing the choreography. But you created it, didn’t you?
M: Yes, I did.
K: This time, Yuri Plisetsky still has the body of a 15 years old boy, so you know, we thought that if possible we would like to ask someone else to perform it. The reason is that this footage is an important reference when translating the choreographies into animation, and changing Kenji-sensei’s body into that of a young boy would have required quite a lot of work.
M: Ah, so it was for that reason.
K: Yeah.
M: I see.
K: So basically we said that a girl, a girl of small build, would be nice, and we asked Kenji-sensei to look for a person like that.
M: Yes. Honoka Kawanishi-chan.
K: Yes. She’s a 20 years old university student, and she even participated in the university’s Miss Campus contest…
M: Really?
K: Well, isn’t she really pretty?
M: Yeah, she’s a beautiful girl.
K: I was like, nice job Kenji-sensei for bringing such a girl!
M: When she was still a competitive figure skater she impressed me because she could dance really well.
K: You didn’t do choreographies for her at that time?
M: No, I didn’t. This was the first time, but really, she learned the choreography very quickly.
K: That’s right.
M: Yeah.
K: He was creating the choreographies at night, we had very little time, and I guess, there are skaters who learn faster and skaters who are slower, right?
M: Yes, and also, I think she was moving very close to the way I was imagining the choreography, so we could go on very smoothly.
K: We also had that impression watching, like, she was absorbing everything so quickly and she danced very boldly, she was really amazing.
M: And this hairstyle, too.
K: Yes, we wanted to draw Yuri with flowing bobbed hair, so we asked her not to tie her hair, to let it loose when she was skating, and you know, skating with loose hair is something that you don’t see in tournaments, so it was really nice to watch~.
M: It’s nice, it looks very dynamic.
K: Thank you. Hah~. So this was Yuri Plisetsky’s short program, “Ai ni Tsuite ~Agape~”.

K: “Really nice to watch~”, I made a face like an old man (LOL). Ok, next up is Yuuri Katsuki’s free skating. The song is “Yuri on ICE”. Uh.. (LOL)
M: Everyone’s laughing at me (LOL).
K: This part, of course the ones who watched the anime know it already, but we asked Kenji-sensei to start from the point where Victor hugs Yuuri from behind..
M: Yes (LOL).
K: Sorry, it’s just somehow amusing (LOL).
M: When I turned around everyone was laughing.
K: (LOL). But actually, it became a really nice scene. Ok. Regarding this “Yuri on ICE”, when we were creating the story later on I decided the title and made it “Yuri on ICE”, but in fact, when we filmed this footage the title hadn’t been decided yet, we just had the song ready, and the story wasn’t finished either, so we just asked Kenji-sensei to do the choreography in the meantime. This time I couldn’t physically be there, but what instructions did the director give you?
M: I’d say, “director, what do you think about this?”, and she’d be like “yeah, that’s good”.
K: (LOL)
M: I said “And this, what about this?”, and she was like “yes, I think that’s nice”. No matter what I said she always replied “yes”.
K: In other words, you were also kind of anxious too.
M: Yes, I didn’t really understand the story completely, so..
K: Yeah.
M: But I was asked to create a program that could win in a tournament, a well done program, and when I listened to this song, this delicate music, I wanted to create a choreography that would look like an ink painting, like thin streaks that vanish as they stream.
K: Hearing this, you know, I’m not sure whether it’s actually connected, but the opening is really that way, like an ink painting, with colors that spread out as the song plays, and I thought that it looks like it’s connected.
M: I was very surprised when I watched it.
K: Ah!
M: I was like, “ah, so they made it like this”…
K: But seriously, this choreography is really… In the beginning, Yuuri Katsuki has just started figure skating and has many worries, then in the scene where he meets Victor the sounds become richer, and we asked to make the choreography so that it would leave a stronger impression too, but the way you glide in that smo~oth line is really nice. Even in the animation version it’s breathtakingly beautiful. And…
M: Today’s socks are lime green (LOL).
K: (LOL). Yeah, we have explained this in vol.1 too, but basically it’s not like Kenji-sensei fancies this kind of fashion, he wore different gloves and socks to make the left and right legs different. Normally he’s a fashionable person.
M: You don’t have to say that (LOL). But this, you know, I really used up a lot of stamina to skate it.
K: Ooh.
M: That axel after a forward counter is quite difficult.
K: (LOL). Indeed, we asked to create a FS that could win the Grand Prix Final, so the movements leading to jumps, and all the other elements, are all made so that you can get a high level. Kenji-sensei did a lot of things (LOL).
M: Yeah (LOL).
K: Sorry for saying it a bit vaguely.
M: That’s ok. This part too, it has an outside rocker cluster with combined movements of the upper body, though my foot touched the ground a little (LOL). It’s made to get level 4, I mean, I’m not sure one could get it, but it’s made so that it’s possible to get it.
K: I heard that some real figure skaters said they wanted to skate this.
M: Yes, that’s true. I was asked to make a choreography for this song, but I replied that it would be better to wait some more time. It’s quite popular actually.
K: I really want someone to skate it! Seriously, the song is a bit too short for a competitive program, but someone could like, make it a bit longer, edit it, and skate it.
M: (LOL).
K: Ah, yes, in the end, he looks in Victor’s direction, points his fingers at him, and the song is complete.
M: My hair is so flat (LOL).
K: Yeah, kind of…
M: It was night in the end.
K: Yeah, it was night. All the clocks visible in the footage are showing past 12:00, but that’s not 1:00 or 2:00 in the afternoon, you know.
M: It was pitch black (LOL).
K: Yeah, it was. But really, now that I hear from Kenji-sensei that there are real skaters who are watching “Yuri on Ice” and want to skate this song… So is it popular?
M: Yeah, this song is popular, and, it’s a different story, but at the rink I went to the other day there was a boy who started skating after watching “Yuri on Ice”.
K: Great!!!!
M: When I told him that I was the one who made the choreographies, he was like “uwaaah”.
K: I’m so happy.
M: It’s nice to see things like this happen.
K: Yeah, I mean, of course grown-up women like this anime too, but I hope that young male skaters who are thinking of starting now or who are already skating, people from all over the world, can feel figure skating as something closer to themselves and continue it.
M: Yes.
K: You also said that you’d like people to feel figure skating as something closer, right?
M: Yeah, I think so.
K: You know, I’m really happy to hear that in some way, even just a little, this is becoming true.
M: I agree.
K: Ah, sorry, I’m wrapping it up a bit in a hurry. So, we have watched the choreographies of vol.2. Let’s meet again in vol.3! Please say something too (LOL).
M: (LOL).


Yuri on Ice BD choreography commentary translation - Volume 3

I’m alive… There were too many things this month, I can’t believe we’re already halfway through. Anyway, finally, here’s the full translation of the choreography commentary from the BD/DVD vol.3. The commentary is by Kenji Miyamoto & Mitsurou Kubo, as usual. This time it’s Minami’s FS, Phichit’s SP, Leo’s SP and Chris’ SP. More programs so of course it’s longer than usual.

Notes:
-It’s two people talking, not a written interview, so expect them to hop from one subject to another within the same sentence… Even if it sounds a bit unconnected at times, that’s how they said it.
-I still arranged it a little to make it easier to understand as written material, by removing lots of “ehm” “uuhm” “you know” “yes” (I especially removed all instances where someone says “yes” in the middle of the other speaking) and fumbled words.
-Amusingly enough both their initials are KM/MK, but I used the surname initials so M is Miyamoto and K is Kubo.
-I put (LOL) when they’re laughing because otherwise some lines might sound serious while they’re actually joking.

***VERY IMPORTANT***
Do NOT use this translation for subtitles, in ANY way.
I don’t support the upload of bonuses contained in BDs/DVDs, as they are meant to be (as the word says) bonuses for the people who spent money to purchase them. If you like a series so much that you absolutely need to watch the bonus contents, please buy the BDs/DVDs.

Translation under the cut since it’s twice the usual length.


Keep reading

Head cannon that Blurryface takes place in the same universe as Danger Days

Reasons

  • Tyler and Josh have a picture of them as Mad Gear and Missile Kid. For those who don’t know, Mad Gear and Missile Kid is a band in the Danger Days universe.

   “It’s basically what the Killjoys are listening to in the car as they’re having those gun battles” –Frank Iero

 

  • If this is the case, the songs on Blurryface make more sense

“Wish we could turn back time, to the good ol’ days,
 When our momma sang us to sleep but now we’re stressed out.”

This line could suggest that Mad Gear (Tyler’s character) misses the old days before the Helium Wars. Before he became “stressed out” due to being on the run from BL/ind.

 

Yo, this song will never be on the radio
Even if my clique were to pick and the people were to vote
It’s the few, the proud, and the emotional
Yo, you, bulletproof in black like a funeral
The world around us is burning but we’re so cold
It’s the few, the proud, and the emotional

This song represents most of the (canon) groups.

The Few = Killjoys

The Proud = BL/ind

The Emotional = Characters that have lost families/family members due to the Helium wars.

 

We don’t believe what’s on TV,
because it’s what we want to see,
and what we want, we know we can’t believe,
we have all learned to kill our dreams.

This one is more self explanatory. The futuristic “Utopia” created by BL/ind is supposed to be just that. Utopia. Every thing has to be “Perfect” even if it’s not real. The last line also references the struggles Killjoys go through with the constant battle against BL/ind. They couldn’t go through with their dreams so they had to kill them.

 

A loser hides behind a mask of my disguise,
And who I am today is worse than other times,
You don’t know what I’ve done, I’m wanted and on the run.
I’m wanted and on the run.
So I’m taking this moment to live in the future

 This one is directly to the Killjoys. They are inspired by Mad Gear and missile Kid to fight back. They hide behind a mask of his (Mad Gear’s) disguise. At this point in time, Mad Gear is taken by BL/ind and he is “Worse than other times”. He is also “Wanted and on the run”.

 

 

I’m a goner, somebody catch my breath,
I’m a goner, somebody catch my breath,
I want to be known by you,
I want to be known by you.

And

Though I’m weak and beaten down,
I’ll slip away into this sound,
The ghost of you is close to me,
I’m inside-out, you’re underneath.

After Mad Gear and Missile Kid are defeated/on the verge of death, this is what they are. Goners. They want to be known by YOU. The listener. The Killjoys are the listeners in their timeline. Both MG and MK are “weak and beaten down”. It would make sense that this is the song that closes of the Blurryface album.

 

·        My final point is the fact that Tyler’s character of Blurryface appears as Mad Gear (Black paint around neck and hand). Implying that they have relevance to each other.

small brain: every Detective Conan and Magic Kaito media is the same canon, the Black Org is the evil group from MK

normal brain: the DC manga, anime, and movies, as well as MK, are slightly different canons with different villains and character relationships

advanced brain: all fan material involves picking and choosing different aspects of canon; if you want Toichi and Yusaku to know each other there’s an AU for that

man holding a galaxy: the only real DCMK canon is my shared multiverse Conan/Holmes/Columbo/Lovejoy/Buckaroo Banzai crossover fic “Conan Edogawa Against The World Crime League”

Yuri on Ice BD choreography commentary translation - Volume 1

Since I did all the rest I figured I might as well translate the voiceover commentary in the choreography footage too. As this was not very long, I translated the complete script, it’s not partiaI (I actually wrote down all the Japanese and translated it). The commentary is by Kenji Miyamoto & Mitsurou Kubo.

Notes:
-It’s two people talking, not a written interview, so expect them to hop from one subject to another within the same sentence… Even if it sounds a bit unconnected at times, that’s how they said it.
-I still arranged it a little to make it easier to understand as written material, by removing lots of “ehm” “uuhm” “you know” “yes” (I especially removed all instances where someone says “yes” in the middle of the other speaking) and fumbled words.
-”tn” in square brackets are translator’s notes.
-Amusingly enough both their initials are KM/MK, but I used the surname initials so M is Miyamoto and K is Kubo.
-I put (LOL) when they’re laughing because otherwise some lines might sound serious while they’re actually joking.

***VERY IMPORTANT***
Do NOT use this translation for subtitles, in ANY way.
I don’t support the upload of bonuses contained in BDs/DVDs, as they are meant to be (as the word says) bonuses for the people who spent money to purchase them. If you like a series so much that you absolutely need to watch the bonus contents, please buy the BDs/DVDs.

Actually, one of the reasons I am translating all the content (booklet, commentary etc) is to encourage people to purchase the BDs/DVDs. I know many hesitate because they are expensive and they are only in Japanese, but you have the subs online and now you have translations for all the contents too, so it’s not like you will “not be able to enjoy the contents at all because of the language barrier”. The best way to support the series and help in the possible creation of a 2nd season (or a sequel in any form) is to buy the discs.


Miyamoto: Hello, I’m the choreographer Kenji Miyamoto.
Kubo: Hello, I’m the original planner Mitsurou Kubo. Thank you for today.
M: Thank you~.
K: Thank you for coming. Well then, this is Victor Nikiforov’s free skating, “Aria (Hanarezu ni Soba ni Ite)”. So, regarding the choreography, what did you pay attention to when you created it, Kenji-sensei?
M: Yes. Regarding Victor, I created the choreography trying to make his throat and chin look beautiful, like in the stone statues you see in museums.
K: So basically, it’s important to have a clear image when you create a choreography, isn’t it?
M: Yes. When you want to show something, you have to make it so that it comes forward.
K: So that it comes forward.
M: Yes. If you try to express too many things it will just get confusing, so I always try to show the points I want to convey as much as possible.
K: Ok. Regarding this choreography, well, it’s not really the choreography itself, but I would like to explain the reason Kenji-sensei’s clothing style is a bit unfashionable. If the right & left arms and legs don’t look different in some way there is a high chance that they’ll get mixed up when creating the animations, so we asked him to make them look somewhat different, and that’s why he’s like, showing only one sock, using different gloves, and so on.
M: Exactly. And it just happens that I was wearing striped socks that day (LOL). If I think about it now it’s quite embarrassing (LOL).
K: He’s also changing outfits a few times, and this is because from time to time we would like, retake the sequence, or ask him to skate again a part we didn’t have enough material for, and such.
M: This outfit [tn: the white shirt] was used to check how to depict the fabric fluttering because of the wind.
K: Though it was just in the beginning, right? (LOL.) But yeah, Victor’s skating in episode 1 is really, you know, the animated scene was really amazing, but actually “Hanarezu ni Soba ni Ite” is also the first program that was choreographed.
M: Yes. At the time there wasn’t a clear image for it, but I received lots of input from sensei, so…
K: Yeah, we requested the choreography when the story wasn’t completely decided yet, and I was kind of worried that we had made Kenji-sensei uneasy, but he came up with such nice steps.
M: Well, indeed, I did make it so that you could get level 4. In the program I used deep edges, choctaw, bracket, rocker, counter and all kinds of steps, so if you use it in a tournament you might actually get a good score. I mean, you will get a good score.
K: You do?
M: Yes.
K: See, we can feel at ease because we know that Kenji-sensei will think about all these things too when he creates the choreographies… Ah, this is my camera (LOL). [tn: when Miyamoto looks like he’s skating toward the screen]
M: This is when Kubo-sensei asked me to bring out a man’s sex appeal…
K: Yes, that’s right… (LOL)
M: That was really embarrassing (LOL).
K: I was gripping the camera and going “haaaaah” inside (LOL).
M: I see (LOL).
K: But I think that anyone who watches the final footage that was created for the broadcast will understand right away that Victor is a great skater, I mean, we could get a convincing sequence that conveys that. Thank you very much, Kenji-sensei.
M: Well, I’m not Victor, so it was really hard to skate that (LOL).
K: (LOL). Ok, so this was Victor Nikiforov’s free skating, “Aria (Hanarezu ni Soba ni Ite)”.

K: Ok, next up is Yuuri Katsuki’s short program, “Ai ni Tsuite ~Eros~”. Regarding this short program, in the anime it’s said that he’s skating it picturing a katsudon, but actually that’s something I added afterwards, so I never told anything about katsudon to Kenji-sensei when we requested the choreography. How did you create it?
M: I created it expressing the passionate feelings that a person straightforwardly directs to the thing they like.
K: Since it’s eros it’s about sex appeal, so we wanted athlete Katsuki to skate it with plenty of sex appeal. When we were creating the image, you know, I believe there are many child skaters who use sexy choreographies, and I heard that when Kenji-sensei teaches children how to perform the choreographies he tells them to imagine having honey on their hands and such, so I thought, “oh, it’s possible to compare it to food”, and that’s how I came up with katsudon.
M: I see (LOL). It happens pretty often that I teach athletes using expressions such as “like when soft ice cream melts”.
K: As a result, I received quite a lot of comments like “what a naughty katsudon”, so I was really happy to have done it, even though the impression might change at some point. Also, I think you have already noticed from the footage, but here we are shooting the sequence without using the full rink. I think it takes a lot of stamina to skate this using the full size of the rink, doesn’t it?
M: Yes, normally it would take about 3-4 strokes to reach top speed, but here I’m using 1-2 strokes, so if you were to do the same using the full rink I think it would require lots of power and skating skills (LOL).
K: But really, I mean, since we have recorded this footage as a bonus, I really would like some people to try and actually skate it in real life (LOL).
M: That’s right (LOL). I also would like to ask my students to try their hands at it (LOL).
K: (LOL). But yeah, this Kenji-sensei… The footage is made by putting together parts recorded at the Edogawa rink and at the Chiba rink, but isn’t your body shape a little different from part to part? You look like you’re getting a lot thinner… Is it fatigue?
M: No well, that’s because here you were saying, what was that…
K: “Do your best Kenji”? (LOL)
M: You said “do your best Kenji” and so I was doing my best moving around as much as I could (LOL).
K: Thank you (LOL). Ok, this was nice. Thank you. So, this was Yuuri Katsuki’s short program, “Ai ni Tsuite ~Eros~”. Thank you, Kenji-sensei.
M: Thank you.
K&M: See you~.
K: I’m waving my hands (LOL).
M: Waving them a lot (LOL).


Just a final note in case you’re wondering: Yes I am planning to translate all contents of future volumes (from 2 to 6) as well. I’ll be very very happy if at least a few people decide to buy the discs thanks to the translations.

Ferdinand is so upsetting. I don’t care what his role in the story is any longer (did I ever?) - I just want him dead and gone.

I don’t even like him as a villain like Rachel or Leekie. He makes me feel sick every time he’s on screen. I know he’s supposed to, but god.

He murdered MK in such a violent, disgusting way and the fact that he called it a “revenge fantasy” and the fact that he saw both MK and Rachel when he was doing it makes it even worse.

I am sad and I feel sick and I miss MK and I wish she’d gotten to blow him up when she had the chance.

Ask Responses - Eleonora Sevenard

You referred recently to speculation that the Sevenards are descendants of the Romanovs. I wanted to ask this question before but wasn’t sure it was appropriate, but: aren’t they definitely descendants of the Romanovs? I’m under the impression M. Kschessinskaya had only one child, with Grand Duke Andrei Romanov. So wouldn’t any descendants of hers necessarily be Romanovs? I’ve seen the Sevenards referred to as both descendants of MK’s brother and MK herself; is this why there’s a discrepancy?

It’s a conspiracy theory!

First of all, the Sevenards are definitely the descendants of the Kschessinska clan. Elya’s father is the great-grandson of Mathilde’s brother. This year, however, the family made a serious claim that they are actually the descendants of Nicholas II of Russia and M. Kschessinska’s illegitimate daughter. There is no concrete evidence to support this, however. 

(@rikalluma): Hey! Why is Elya Sevenard so famous? Especially in Russia right?

Well, Elya is arguably the strongest graduate this year. She’s been carrying VBA’s entire repertoire for the past two years, performed “The Nutcracker” ten times (current record for any VBA student), and tackled Black pas de deux, which she performed with her partner, Egor Gerashchenko, at the Mariinsky, the Bolshoi and Opera Garnier. 

Then there is the matter of her ancestry. Elya is related to Mathilde Kschessinska - a fact that has been widely covered by the Russian media over the past two year. That, combined with the fact that she was VBA’s de facto prima for two years, secured her a quasi-celebrity status.

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