visual translations

anonymous asked:

What's the visual novel that the quote is from?

The visual novel is called Burning Bright in the Forests of the Night.

It was first released as an extra with the first pressing of the 6th Japanese DVD/Bluray volumes on December 18th, 2013, along with other two visual novels: A Choice with no Regrets, and Wall Sina, Goodbye. It has been re-released on the recent Season 1 DVD/Bluray Boxsets.

The whole visual novel is basically Levi’s thoughts about Eren during the events of Season 1. We get to see his point of view during the most relevant moments Eren and Levi share.

It really is great because we get into Levi’s head and know what he thinks about Eren. Here’s a resume with the most important points:

Levi calls Eren a monster, but a monster “created so perfectly it inspires awe, and fear”.

When Levi realizes Eren has transformed to fight the female titan in the forest, and he might be in danger, Levi’s heart is described as “cold as ice”, and he “flies like a released arrow”.

Levi beating Eren in the trial is described as “an extreme, cunning performance. But a necessary one”. He also thinks how they’re forced to make hard decisions all the time, and beating Eren is his last resort. “Ahh, what a load of bullshit. But there’s no choice. A soldier’s profession is to wield violence”. I personally love this part because it really proves that Levi did not want to hurt Eren, and was just doing it because he had no other choice.

Levi knows about Eren’s past, about his training time, and even about his childhood. It is said that “violence and any other form of pain will never break the boy’s spirit”. Not even getting a beating is going to destroy him, on the contrary, it will make him stronger.

The most important part from the whole visual novel is probably this one:

Humanity’s Strongest understands Eren Jaeger very well.
Eren Jaeger is indeed feared as a monster.
Eren Jaeger is undoubtedly a monster.
But all these people have gotten it wrong from the start.
Eren Jaeger is not a monster because he has the power to shift into a titan
”.

When Levi calls Eren a monster, he isn’t talking about his shifting power. He is talking about his strenght and will. He is a monster because he is capable of enduring so much and still keep fighting. When Levi calls Eren a monster, it’s not something with bad connotations, it’s actually almost a compliment, as he speaks of him with admiration.

Eren is a monster “not because of the titan power, but because his soul itself is a monster”. And nothing can’t control this monster, “not even love” (゚ω゚;).

Levi wants to protect Eren, and calls him a “monster with perfect, fearsome beauty”. ( I assume this is the quote you saw in the first place).

When Levi rescues Eren, he yells his name. He “looks at the boy he’s holding" and wonders if he put too much weight on his shoulders or confused him by making him decide.

The visual novel ends with the poem The Tyger by William Blake, which gives name to the visual novel.

You can watch the visual novel here or here.

It was translated to english by sunset-tower, you can find the translation here. Any quotes used on this post belong to that translation.

I personally recommend this visual novel, it’s short but I think it’s very important to understand Eren and Levi’s relationship a bit better.

So let’s talk about Sasha’s climactic scene

And why the Attack on Titan anime adaptation once again proves itself to be incredible. 

Sasha reading her bow and telling the kid to keep going is an amazing moment in the manga already–Isa deserves all the credit here. In the og flashback, Sasha refuses to abandon her principles just because outsiders are in trouble, she refuses to help them; a perhaps egocentric, but also human point of view-we tend to prioritize us and those closest to us over strangers. Then, in the current time, Sasha tells the kid to run bc she’ll certainly find kind and helpful people ahead; and stays herself behind to fight; she fights knowing that proper victory cannot be achieved, to save a random stranger; a kid, further emphasising that Sasha herself has grown into a great person and abandoned that egocentric child she once was.

It’s great stuff, but the animated execution of it made me realize just how good it actually is.

In the yumikuri flashback the S1 version of counterattack mankind starts…its positive a track expressing a sense of optimism and peace, it suits the “ordinary moments” she thinks about. Then, we cut back to present time. A newer arrangement of the track, led by faint strings with hints of an organ in the background–there’s a distant but growing intensity in there. 

As Sasha talks to the kid, most of it is shot from the kid’s perspective, so we get to look up to Sasha–she’s seen as the grown up here, perfectly fitting the above characterization. In the meantime, the music grows ever stronger-the organ is very present, and drums are added too. The buildup to the sequence is thus heavily emphasized. Also, listen carefully to Kobayshi Yuu (who’s performance here I loved). There’s definitely exasperation in her voice–they’ve been running for some time and are chased by a titan, not to mention that she’s afraid. Yet, you can still find a lot of tenderness in there–the kid is supposed to feel safe and secure, despite everything going on, and it just makes you love Sasha even more.

Let’s get to the real meat

I LOOOOVE this scene. Sasha spinning on her feet to stop and get into position looks really cool…but its’ the following take that I adore the most

The spin kills her entire momentum…she stands still and ready, and the camera lingers on her. But the kid didn’t do any spin, kid’s still going, not slowing down. Sasha however wants kid to keep going, seems to use her spin as a way to propel kid forward. And the moment her arm is separated from kid, the camera moves on as well–doing so, Sasha’s staying-behind-to-fight is visually translated and further emphasized without the viewer consciously realizing it. I have a hard time describing it, but there’s an incredibly powerful sense of organic dynamism in there that just sells the scene. It’s excellent visual storytelling, not only of the situation, but also of Sasha’s character–she’s strong and altruistic now, and she’ll fight against all odds to save the kid in need. Yuu’s performance here is perfect as well–there’s now definitive desperation to be heard, alongside remaining hints of kindness but also a certain intensity. Sasha is afraid–she has no equipment to protect herself, she has no weapons to eliminate the threat, but in spite of that, she still sends the kid away, she still stays behind, she still stands in the way of the titan. 

And THAT shows just how brave she is–Sasha overcomes her weaknesses, she fights against all odds, she dedicates her heart–and that is what the anime manages to portray so masterfully here.

And of course, that is what the best shot of the episode does.

We get an incredibly gorgeous wide shot…starting off once again from below, keeping both the titan and Sasha in frame, reminding us of the threat ahead of her, but in one amazing panning zoom, we fly all the way to a closeup filled with nothing but fierceness. The visual alone is amazing in its own regard, but the sound is what truly rounds it up. Counterattack Mankind A reaches its climax, going all out on instruments, cue-ing the all-so-familiar melody in an immensely epic arrangement worthy of the scene it accompanies. Kobayashi Yuu 100% sells it too–her first “now-go” is still a bit feeble and unsure as mentioned above, the 2nd “run” already stronger but there are still hints of fear….and then, with the musical cue behind, after getting a full frontal close-up–the all out “get runnin’!”, filled with nothing but raw energy and determination–Sasha’s abandoned all fear and is in all out character-climax-badass mode. Her shout echoes through the woods, the kid is literally hit by a shockwave and finally starts running (sidenote–her eyes were dark and lifeless throughout the ep, but only after that do they lighten up, adding once more weight to Sasha’s moment). And of course, Sasha’s accent arc comes to full circle in the same frame as well, as she yells the command out in her native dialect she’s tried to hide for so long. Pretty much everything that could’ve come full circle did–in terms of writing, performance, sound and visuals.

It’s an amazing sequence deserving of ludicrous praise for the creative staff–they’ve proven once more that Attack on Titan is a work of art. The manga is already without a doubt amazing–most of the points above stem from it after all-but the anime is so ridiculously good at presenting I sometimes can’t believe it with my own two eyes.

In case you couldn’t tell, I fucking loved this sequence and I’m gonna yell about Sasha all week long. 

YUZURU ON KENJI’S ROOM EPISODE 2 TRANSLATION (2015)

The full episode 2 of Yuzu’s interview at Kenji’s room was also uploaded by the kind fan so my completionist instincts kicked in and I had to translate ( : 

Disclaimer: my Japanese is far from perfect so corrections are welcome. This is more of the ‘gist’ of the conversation and not always word for word (Ep 1)

  • Axel talk: Yuzu jumped the 2A at the end of Year 3 in Primary School when he was a Novice and doesn’t quite remember it (cutely, he was like ‘desu ka ne?? desu ka ne?’ and I assume he was searching for his mum off-camera to confirm haha)

    When he was aiming for the Japanese Nationals as a Novice, his coach (Suzuki-sensei?) at the time told him the 2A was the ‘king of jumps’ and so if he didn’t master it, he couldn’t progress. 

    Yuzu loves Axel the most of all the jumps. It’s special because the other jumps are all backwards jumps and the method of takeoff is the same. Yuzu is the type who really places emphasis on having an image in his mind (visual learner). He jumped his first 2A just from watching his older sister jump it. He absolutely wanted to jump the jumps his sister could do. He jumped 3A after seeing Mao do it at the Japanese Nationals. Seeing how thin Mao was and how she didn’t really use a lot of muscles to jump it, he thought he should be able to do it too. He jumped the axel after 3 tries at that practice (after stepping out the first 2 times). 

  • Kenji: That’s….weird (he’s deeply impressed and disbelieving haha).
    Yuzu: But afterwards, I had a long period (1yr) where I couldn’t land the axel properly in competitions. 

  • Kenji was still in awe Yuzu got the axel after 3 tries and then the staff member asked him to talk about when he landed the 3A lol. 

  • Kenji’s axels: Kenji was bad at flips and struggled with 2F. He was nervous about the 3A and found it difficult so actually tried jumping the 4T first. However, Kenji rotated too much and so actually jumped about 3.5 revolutions and ended up hitting the wall and slid down like a manga character.
    Yuzu: But you rotated 3.5 times. You could have tried the Axel.
    Kenji: No, I was scared of the axel.

    They talked about axels at an ice show when they met. Kenji was trying to jump a single axel and Yuzu said ‘Eh? Your hands are weird’. Yuzu said their frames (bodies) are different but at the time… Kenji’s way of jumping was indeed weird. 

    Kenji: But after you taught me, I jump the axel properly now each time so thank you very much. 

  • Yuzu’s jumps (again, struggled to hear words): I think he’s saying he only gets one shot to master the Lutz so it’s a close-call jump (he uses ギリギリ which suggests he’s barely mastered it) and so he didn’t really practice it. Over anything, the probability of landing (?) the 3Lz-3T is the lowest so he needs to place emphasis on it. Yuzu also changes his jump timing to match the music and it affects whether he jumps straight or at a curve. Kenji mentions how your sense for the jump changes and Yuzu agrees that he can’t jump a 2A right now and the 3T is also pretty bad due to him losing his ‘sense’ for the jump by doing too many 3A and 4Ts. He had to jump a 2A at a group number during an ice show and realised he didn’t have a sense for them anymore. 

  • Shizuka and Yamato: He didn’t have much of a chance to skate together with Arakawa Shizuka even though they were in the same rink; he mostly only watched her admiringly. He didn’t really have a chance to interact with world class skaters (eg. like skating at the same rink or being in the same club etc.) He doesn’t have many memories of talking much with Shizuka but remembers Yamato Tamura a little more. ((Yamato sought him out to talk to him a bit more than Shizuka or Honda? This was one of those situations where he mumbled a lot and I have no context sorry lol)). 

  • Yuzu’s middle school graduation: He won the Junior World Championships in Year 9 (end of middle school) and graduated middle school alone in the principle’s office. He loved his Year 9 classmates a lot - he had a lot of close friends in that class and they all gathered to say ‘welcome back’ for him afterwards. This left a deep impression on him.

  • Dark stories of Junior days: Kenji was like ‘so do you have any dark stories from your Junior days?’ and Yuzu was like LET ME TELL YOU (he answered really fast and decisively like he didn’t have to think about it at all LOL).

    He placed 12th in his first Junior Worlds 2009 and it was very kuyashii (he even corrected Kenji who initially said ‘a little kuyashii’). He didn’t have a lot of time to practice and he was also injured (can’t catch precise phrases even though he uses some more here, but the idea is that he wasn’t entirely prepared?).

    At the time, he tended to make a lot of excuses for himself. He would tell himself he had a sprain etc. and people around him would say the same. After the experience at Worlds, he told himself he’d not give himself any excuses. He says strong athletes don’t give excuses for poor performance. It isn’t productive and won’t give you the ability to compete. He admires the people who can perform/jump under any condition, like Mao who performed with a broken bone. (THEN HE MUMBLED THE REST yuzu pls. I think he was essentially reiterating this ‘no excuses’ attitude was important to him)

    Kenji: Wow…that’s cool.

    Yuzu: Who? Did someone cool come in??
    (he’s making a lame joke because he’s an awkward turtle) 

    Kenji (gravely): You’re cool

  • Yuzu’s next World Junior comp (2010): He held on to the regretful feelings from last season and practised a lot. ((I’m really not sure about some of his phrases re: Olympics and also his last year of Juniors so I won’t bother trying to translate but I think he was saying that because the year he lost was the Olympic year, a lot of skaters debuted as seniors and so he wanted to challenge them at a senior level. Also he did very well in his last year of Juniors)). At the time, he was bad at the SP and tended to make up for it in the FS. He was 3rd in SP and won the FS. No matter how big the match was, he always approached it as though it was just another competition and that he would just have to win.

  • Talk about Kanako getting food poisoning from eating raw food heheh

  • Senior debut (tn: I think Yuzu was getting tired here because he essentially…stopped enunciating the ends of his words, rolls some words into each other and trails off. This makes translating by ear super hard, as a non-native speaker who can’t guess at the words. I could only get bits and pieces so I’m sorry the next section is a bit incomplete/inaccurate): 

    Yuzu really realised that senior skating life was very difficult. His first senior competition was NHK in Nagoya. To put it bluntly he was in a state and couldn’t jump his quads. Then he had some sort of shift in his head and in his attitude towards practice and so he did better in the next competition (including silver at the 4CC). He did feel the difficulty of the senior level. He was grateful to have been rewarded at the end of the season and for its ending and told himself he has to do better next season, especially given his silver at the 4CC, he had to aim higher.

  • Most memorable competition he’s ever done: Of course the Olympics but also his first at the Japanese Nationals as a Novice (his time of having mushroom hair). He was so excited the point where he wasn’t even nervous and just felt like the competition was incredibly fun, and his practice at the time was great too. As a Year 4 primary student, he also had no concept of failing (missing his jumps) and was filled with the confidence that he’d definitely win. They were still using the 6.0 scoring system at the time. World level figure skaters at the GPF and Worlds were all scoring in the 5.0s and above. In one of Yuzu’s presentation scores (they laughed because it was still called presentation), he got a single 5.2 and was super happy and surprised to get it. He then had this feeling of, ‘oh, maybe I can compete on a world level!’ ( : 

  • Yuzu’s life goal: His life goal has also not changed since primary school, from when he first watched the Salt Lake Olympics at 7yrs old and thought ‘I’m definitely getting the gold medal.’ After he won in Sochi, he kept thinking that getting a second gold at the next Olympics would definitely be legendary and so made it a goal.
    Kenji: As I thought….you’re weird
    Yuzu: It’s weird. It was also not a ‘I can or cannot get a gold medal’ feeling (tn: because that suggests he was uncertain about it) – it was ‘I will get a gold medal.’
    Kenji: Well. There’s still one more (gold). 
    Yuzu: Pyeongchang is a goal – it’s one of my biggest reasons for skating right now.

170216 - Ogami Banri Twitter Update

Riku-kun’s skillfully drawing a design in mayonnaise. Tamaki-kun is making a very triumphant face as well!

※ Note: Riku, Sogo, and Tamaki are eating okonomiyaki, a Japanese pancake (sometimes likened to a crepe or pizza instead) featuring batter and cabbage as the star ingredients. Toppings can vary from person to person, ranging from meat to ramen noodles! Hiroshima (where the boys are eating) has a long-standing rivalry with Osaka regarding who prepares the best okonomiyaki. The difference between them is Hiroshima-style okonomiyaki always layers the ingredients while Osaka-style okonomiyaki always mixes them. Hiroshima-style okonomiyaki also uses a lot more cabbage. Don’t forget to give them a taste if you’re ever visiting Hiroshima or Osaka while in Japan!

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Hello Tokyo! (03/20)

Proofread: Sophia (@aseria) (*˘︶˘*).。.:*♡

Visual Board Tour Event:

Sendai | Sapporo | Hiroshima | Fukuoka | Osaka | Nagoya | Tokyo


Mitsuki: Okay, let’s begin for today! IDOLISH7’s web program…

All: Kimi to ‘Ai'dolish Nai to~!

Sougo: This web program is presented by IDOLiSH7, and it takes place the same time as our tour to seven different cities, “Visual Board Tour.”

Sougo: We started this tour in January, and it felt like it passed by so fast. Thanks to the fans’ warm support, we finally returned back to Tokyo safely.

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Watch: This seemingly empathic Super Bowl ad that humanizes immigrants and emphasizes how hard they have to work has a terrible hidden message

This ad took a political stance, but as far as we can tell, it’s not the one so many people are raving about. The ad was a visual translation of Trump’s infamous words about the wall: “We’re going to build a big, beautiful door.” And when you watch the actual ad, you can see the way they portray the “white savior” makes it even worse.

Gifs: 84 Lumber

WATCH THE VIDEO

170220 - Ogami Banri Twitter Update

A candid shot taken while playing table tennis at the ryokan! Though they’re being toyed with by Nagi’s surprising show of strength, they’re having fun together.

※ Note: A ryokan is a traditional Japanese inn. They can be found throughout Japan, and often include a game room like this one and an onsen (hot spring).

anonymous asked:

i get what you're saying about iw but like. it's directed by the russos. i'd be worried as fuck if it was whedon but it's the Russos.

Civil War was directed by the Russo’s and it was garbage so I stand by what I said.

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Hello Fukuoka! (02/21)

Special thanks to (@aseria) for proofreading (^_-)-☆

Visual Board Tour Event:

Sendai | Sapporo | Hiroshima | Fukuoka


Mitsuki: Let’s begin for today! IDOLISH7’s web program…

All: Kimi to ‘Ai'dolish Nai to~!

Iori: This web program is presented by the seven of us, IDOLISH7, and takes place the same time as our tour to seven cities, “Visual Board Tour”.

Mitsuki: It’s sad that we had to leave Hiroshima. But starting today on February 21, we are visiting Fukuoka! People of Fukuoka, please take care of us~!

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The “Kawaii” Principle

As I eagerly await the release of Guardians of the Galaxy Vol.2, one thing has been bothering me since the first teasers were unleashed: the character design of Baby Groot.

It looks like they tried to apply the “kawaii” or “chibi” trend, but did not understand the fundamentals of HOW that works.

This seems to be the case with a lot of Western animation/character design aiming for “cuteness” that don’t quite hit the mark. I believe some part of it has to do with a cultural background of the media needing people/characters/objects to be “sexy” rather than being “adorable” or “infantile” as it is in Asia. (The term “kawaii (可愛い)” directly translated means “possible to love”, and is used towards ‘adorable’ things that stimulate a maternal/paternal instinct)
I personally feel there is this subconscious need in Western character design to retain realistic facial feature size and distance ratios of mature adults compared to Japanese character design that exaggerates the facial features ratios of infants.

Did you feel a sense of affection and a need to nurture after seeing these pictures? It’s because we’re programmed to.

We, as human beings, have been programmed to recognize a cluster of juvenile features in infants, other animals, and sometimes inanimate (or animated) objects as something that needs to be protected.

So what is this cluster of juvenile features?
After looking at many pictures of human babies, animal babies, and animated characters that evoke a nurturing response, you will start to see a pattern: larger head-to-body ratio, bulging cranium, large eyes set wider apart, dilated pupils, shorter snout, ears being farther back and set lower on the skull than in adulthood, smaller jaw, and smaller, pudgier legs and feet. This is what the “kawaii” and “chibi” styles are rooted in.
Not ALL criteria have to be present in the cluster to elicit feelings of affection.

BABY GROOT IN GUARDIANS OF THE GALAXY VOL. 2

The placement and sizes of facial features for Baby Groot in Guardians of the Galaxy Vol. 2 (“GotG2 Groot”) resemble something closer to an adult than a baby, compared to how he was at the end of the first film.

Dancing Baby Groot from the first film (Dancing Groot) has more infantile features that stimulates our subconscious maternal/paternal instinct programming: larger head, bulging cranium, large eyes set wider apart, larger mouth which visually translates to meaning a smaller jaw, and facial features all placed lower in the face than the design of GotG2 Groot:

GotG2 Groot was given a look of more constricted pupils, eyes closer together, longer distance between the eyes and mouth, and a much smaller mouth. Even with his body, although they gave GotG2 Groot a larger head compared the length of his body than Dancing Groot, GotG2 Groot has wider shoulders and enlarged hands/feet which point to later stages of human development:

If they purposely did this to show that time had passed between the upcoming film and the last film, I can kind of buy that, but this design still doesn’t strike me as “adorable”.
If they were aiming to be a hit with kids from just character design and not the whole character as I suspect they were (because c'mon, Groot was precious even when he was as tall as a tree), they went a little too realistic for “kawaii” and ended up borderline “creepy”.

Rough sketch of GotG2 Groot with a few more of the juvenile features thrown in.
Despite everything I said so far, I LOVE Groot and I am very excited for Guardians of the Galaxy Vol.2.

Now, let’s apply this “Kawaii Principle” to humans.
Ever wonder why you think a 42-year-old man aka Misha Collins is “adorable”?
See how many traits mentioned in my list of “juvenile features” you can spot, especially when he’s lined up against Jared and Jensen:

Misha has more juvenile features which up the “adorable” factor compared to J2, who have more “adult” features.

See how Misha’s bone structure is a bit rounder than Jared and Jensen’s?
Misha also has large eyes that are set wider apart, a shorter distance between his eyes and mouth, and ears set a little lower than J2.  Misha’s eyebrows also start a little farther from the bridge of his nose, accentuating the distance between his eyes.


Think I cheated by using a picture where Misha is making a cute face?
Do you know WHY you feel he’s making a “cute” face? As in, what it is about this facial expression or “body language cues” that make you interpret it that way?
Misha, consciously or not, is using a cluster of body language cues like the Eyebrow Flash, Eye Widening, and ‘Looking Up’ Cluster that all translates to “I acknowledge you, and I am non-threatening”.
Misha’s unique understanding and use of body language, especially for Castiel, was what made the character seem unsettling and otherworldly… but that is a whole different post about body language waiting to be written.


I hope this post was comprehensive enough to help you understand WHY you find things adorable, and that knowing this will help you when you are making your own “kawaii” designs. 

You unconsciously recognize the similarities of the distinguishing traits of human babies in clusters and apply them to other things you see because it is hardwired in our brains to protect and nurture our babies.

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Hello Sendai!

This is the translation of Visual Board Tour Event Story (not voiced). Special thanks to Edmund (@iamtheoceansgaywaves) for proofreading♡

Visual Board Tour Event: Sendai | Sapporo

Mitsuki: Today, we’re starting IDOLISH7’s new web program, named…

All: Kimi to ‘Ai'dolish Nai to~! (1)

Riku: This web program is presented by the popular idol group, IDOLISH7!

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Shingeki no Kyojin Visual Novel
A Choice With No Regrets 「悔いなき選択」 (Part 1, 2, 3)

Translator: EirlysTylluan
Proofreader: DimensionSlip

Read Online: [Part 1] [Part 2] [Part 3]

DO NOT REHOST OR REPOST THE LINKED CONTENT.

Happy Holidays and Birth of Levi day!

To celebrate, here’s the first half of the Erwin and Levi VN, A Choice With No Regrets! Since there are no chapter partitions for the visual novel, we have taken it upon ourselves to create appropriate divisions.

On another note, we are in dire need for more translators on the team! For more information on why, please check this post. For the application proper and requirements we seek, please see this post.

Anyway, hope you all enjoy this release! ┏(눈눈)ゞ

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Hello Hiroshima! (02/13)

Thanks to Sophia (@aseria) for editing 。・゚・(ノ∀`)・゚・。

Visual Board Tour Event:

Sendai | Sapporo | Hiroshima


Mitsuki: Let’s begin todays IDOLISH7’s web program…

All: Kimi to ‘Ai'dolish Nai to~!

Sougo: This web program is presented by the seven members of IDOLISH7. It takes place the same time as our tour to seven different cities, “Visual Board Tour.”

Yamato: People of Sapporo, did you have fun~? This might be sudden but, make a promise to Onii-san. Please be sure to choose how spicy you would like your curry soup to be. (Don’t order it like Sou bc it’s inedible.)

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