GKS take my life and Turnabout it

she/her | late 20s

[croquis-el]

Gyakuten Saiban (Ace Attorney) Masterpost

All about characters:

Naruhodo Ryuichi (Phoenix Wright)

Mitsurugi Reiji (Miles Edgeworth)

Odoroki Hosuke (Apollo Justice)

Naruhodo & Mitsurugi

Character's speech patterns

Easter eggs

Lost in localization

[croquis-el]

Differences in localization and the original of Gyakuten Saiban / Ace Attorney pt.4

Hey, hey, hey, here comes the sequel. Today we'll take a closer look at the changes Larry received in this case and compare them with the Japanese version, touch on some of the subtleties of the «apology» levels, and solve the mystery of Hyossi (Gourdy) together.

Foreign Island

Let's start with the easy part – the change in location and departure points. In the Japanese version, Yahari's new girlfriend, model Kasumi, doesn't fly to Hawaii at all.

今、撮影でグアムに行っててさ。......ちょっと、会えないワケよ。

She's in Guam right now, on a shoot. So we can't exactly meet up.

Guam is the southernmost and largest island of the Mariana Islands, located in the western Pacific Ocean, very close to the Mariana Trench.

Modern-day Guam is an organized non-incorporated territory of the United States: it belongs to the United States but is not part of it.

The distance between Guam and the Japanese islands is approximately 2,500 km (a direct flight from Tokyo takes about 3.5-4 hours).

In the localization, the model flies to Hawaii. Of course, this was chosen as the closest location, as the distance from California to Hawaii is approximately 4,000 km (approximately 2,400 miles) and a five-hour flight.

Personally, I find it difficult to assess the need for a replacement here. It's one thing for a character to fly to another country (essentially from Japan to the United States), but quite another when they move within a country. Although, perhaps it's because I don't have experience traveling around the US and the cultural impact that crossing state borders creates. The peculiarities of territorial governance can create the same «new life» effect - please share your feelings and tell me if my assessment of the situation is correct.

Are you truly sorry?

Okay, we've talked about traveling, now let's dive back into the depths of the quality and level of apologies in Japanese.

We already touched on this topic with Case 4-1, and I invite everyone who missed it to read it. But there, the apologies were extremely polite (though some weren't at all sorry), and now we're descending to a more informal level.

……オレの……トノサマンジュウが……。

…… My……My Tonosaman manjū……

ゴメンな、矢張。

Yeah, sorry, Yahari.

ゴメンですむかっ！

Sorry - that's it?!

ははは.... (ゴメンですますけどな....)

Hahaha.... (I mean, I said sorry, so...)

Police dog Missile devours every manju found at Yahari's stall. However, since the dog is only involved in the investigation thanks to Itonoko and Mayoi (a small fact: Naruhodō didn't want to take the dog and wasn't impressed by its «cuteness»), and ultimately has no effect at all, Naruhodō tries his best to disavow the situation. For the most part, he doesn't care what the dog does and it's not his responsibility. Therefore, even when Yahari loses his merchandise, he responds:

ゴメン (ごめん , Gomen) - a light, friendly, almost casual apology.

«I'm saying 'sorry,' of course, but...» The けど な (kedo na) at the end is a softening. It shows that the speaker acknowledges their insincerity, but doesn't care. (arara gomen, sorry)

In short, Naruhodō doesn't really care that Missile didn't act like a well-behaved police dog, and he's only apologizing because it's necessary.

By the way, the particle な (na) indicates that the speaker is male (a masculine particle). The feminine particle is ね (ne).

Haha, don't think I'm creating an image of Naruhodō as a rude person here. No, he navigates surprisingly harmoniously between «lawyer mode» and «Naruhodō mode», but in this case, we have the «for Yahari» mode, because with Yahari, there's no other way (Mitsurugi has one too).

And please note that Yahari doesn't mention any «bills» at all and simply expresses outrage at Naruhodō's carelessness. The localization somehow ascribed a down-to-earth quality to him, as if he's the kind of person who cares about his financial safety net. And these dramatic in the first sentence ellipses are also fiction.

Yoo-what?

Another controversial point that seems like a waste of time is the spelling change.

First, let's look at the localization:

Honestly, if I hadn't started looking for information, I would never have realized that this is simply a phonetic rendering of a word that is clearly and distinctly represented in Japanese.

いやな。ウチ、実は今まで、1枚しか撮ったことがないんや。

Nah. Actually, up until now, I've only ever taken one photo.

せや。……UFOの写真 なんやけどな。

Yeah. …… Of a UFO, though.

She's talking about a UFO, damn it. Thanks, of course, to the Oxford Dictionary for pointing out the pronunciation variations, but it was annoying. Why reinvent the wheel? Why were the localizers unhappy with the abbreviation, which, well, was already there? If they wanted to convey her accent/dialect, they did it perfectly well. There was no need to mess with the established abbreviation, thank you.

If all native English speakers understood this, then I, like a second language speaker, would just be crying in the corner over it. It's always like that with localization – sometimes they tried hard, sometimes they overdid it (not to mention they were completely lazy).

A Lost Word

After finding out who «Hyossi» (Gourdy) is, or more accurately, after grilling a certain manju seller, Naruhodō says the following:

どうやら、ヤッカイなナゾが1つ、カイケツしたみたいだな・・・。

Looks like one troublesome mystery has been solved….

ヤッカイなナゾ・・・？

Troublesome mystery…?

Note one word that plays a significant role in this context:

ヤッカイな (やっかいな , Yakkai) - problematic, difficult, troublesome.

Now let's recall who caused Hyosshi's appearance and who is the subject of the long-standing legend. The word «yakkai» is suspiciously similar to «Yahari» and fits perfectly with the description of the situations that a person with this surname gets into.

In any case, this is just an observation, but the main point is that the localization forgot about the word «troublesome». It's not there. It's even highlighted in red in original scenario! And it's crucial for understanding Naruhodō as a character. Very few things can shake his composure, and one of those factors is Yahari and the troublesome situations he creates, which, like a black hole, draw those around him into it.

This defeats the purpose of Maya's response, which asks, «What, were we solving some kind of mystery?» instead of the original's clarification, «Why are you calling the mystery troublesome?» Well, that's a completely different vibe.

That's how you talk about an old friend...

Now we get to the real meat of the matter: how did Naruhodo describe the situation with the inflatable Tonosaman to the journalist?

この近くに、マンジュウの 屋台があるんですよ。

There's a manjū stall nearby.

そこには、空気でふくらませた 大きな人形があるんです。

They have a big inflatable doll there.

1週間前、ちょっとドジなヤツが ボンベでそれに空気を…。

A week ago, some clumsy guy was pumping it up with a gas cylinder…

ボンベの栓は破裂して、湖の方へ飛んでいきました。

The valve burst, and flew off toward the lake.

ウチのユメもしぼんだわ。

My dream deflated too.

すみません･･･ナツミさん。

Sorry… Natsumi-san.

And then it all began:

First, Naruhodo uses the word:

ドジ (どじ, doji) which means clumsy, awkward, klutz; which comes from the phrase どじを踏む (doji-wo fumu) - to screw up, to make a mess, to make a fool of oneself.

Second, he adds ちょっと (chotto), which here serves as a measure of scale - a little, just a little.

Third, Naruhodo describes the participant with ヤツ (yatsu), a colloquial term for «guy».

And now here:

In Japanese version Naruhodo doesn't reveal his relationship with the manju seller to Natsumi, meaning there's no personal connection to the incident. He doesn't call him an «idiot» (which is extremely rude), but only says he's «a little clumsy», which is an assessment not of his personality, but of his BEHAVIOR.

NARUHODO JUDGES PEOPLE SOLELY BY THEIR ACTIONS. And this isn't the first time a localization has replaced an objective assessment of a situation with a subjective one, which distorts the character's image. They could have used the klutz, damn it, since they changed last name to Butz.

In front of witnesses/in court, in this case, in front of Natsumi-san, he acts exclusively under the identity of a lawyer, meaning this can literally be called his «persona». And I've already mentioned in previous posts that his behavior in court/when interacting with trial participants differs from his behavior in everyday life/with people he knows well.

Fourthly, how can you lose the joke!? Naruhodō says that Tonosaman's doll:

空気でふくらませた (kūki de fukuramaseta) from the verb fukuramaseru — to inflate/to blow up, so literally balloon inflated with air/ inflatable.

After this story, Natsumi becomes upset and replies:

Uchi no yume mo shibonda wa.

しぼんだ (Shibonda): The past tense of shibomu (萎む), meaning to deflate, shrivel, or lose energy (like a balloon or flower).

So there's a literal play on words here: «an inflated balloon is a deflated dream». And they dared to simply lose it. Applause.

And finally, here Naruhodō concludes his story with an apology, the nuance of which is difficult to convey precisely, but he chooses to say:

すみません (sumimasen) - this apology is used to convey that you understand that someone has endured certain hardships or performed certain actions for your sake.

In other words, he apologizes politely, but disassociates himself from both the «cause» and the «effect» of the incident, as he didn't «create» Hyossi, nor did his «dream» deflate.

This is in addition to the fact that Naruhodō doesn't always become emotionally immersed in the events around him, but acts as he believes a representative of the law should. It's fair to say that in terms of emotional closure, he's quite capable of rivaling Mitsurugi.

If you're apologizing for something that's already been done, it's common to say すみませんでし(sumimasendeshita), but then you're making yourself complicit in the action.

Oh, this turned out to be a very... emotional post. Again, you're free to agree or disagree, but I think it's pretty clear here that there are blatant misrepresentations that undermine the integrity of the overall picture.

[croquis-el]

Gourds, buns and stereotypes

Authentic Japan in Gyakuten Saiban pt. 8

Before moving on to the next part of «Lost in Localization», I'd like to point out a few cultural details that were altered to «domesticate» the setting. In other words, it's «Authentic Japan» again!

Last time, we explored the high arts of poetry, and now it's time to take a break and explore something more mundane, like... pumpkins. Why is the « Gourd Lake» and what significance do bottle gourds of the genus Lagenaria have in Japanese culture?

Let's look at the following dialogue between Naruhodō and Mayoi:

ね、なるほどくん。どうして “ひょうたん湖” なの？ 

Hey, Naruhodo-kun. Why is it called "Hyōtan Lake"?

ムカシこの湖は、ひょうたんの 名産地だったんだ。  

Long ago, this lake was a famous production area for hyōtan (gourds).

So, what's so special about a huge pumpkin field that now occupies an equally huge lake? There are many flooded agricultural lands in the world. It all comes down to the name of the pumpkin species - gourds, otherwise there wouldn't be such an emphasis on this, and pumpkins would be mentioned in the usual sense. Because gourds are «the most ancient storage vessels».

The character for gourd is 瓢箪 (hyōtan), where 瓢 means bowl and 箪means plate, which already alludes to its function.

Furthermore, the «hyō» sound in «hyōtan» has an interesting etymology, as it refers to the rattling sound made by the seeds inside the dried fruit. When it came to carrying liquids, pumpkins had a huge advantage over other materials: they were lighter and less prone to breakage than ceramic or metal containers, and, of course, easier to obtain for use.

There are over 200 different uses for bottle gourds:

portable and storage containers

storing medicine (small fruits were used as medicine containers, which even made them a symbol of health)

tea vessels and water jugs (dried bottle gourds were used to make not only flasks, but also tea ceremony items, such as hyotan-shaped tea caddies (hyotan chaire) and water jugs (hyotan-gata mizusashi).

Another interesting point: an empty bottle gourd was a symbol of the ease of dreams and abundance in Japan, and its image was often used to decorate weapons (for example, sword guards) and as a talisman. Also well-known is the zenga 禅画 story «Catching catfish with a bottle gourd» - a metaphor for something impossible to accomplish, but which requires patience and an unconventional approach.

In this particular case, we have only touched on the cultural significance of bottle gourds. They were originally developed for Japan, but they were also widespread throughout the world: South America, Africa, and Eurasia, where they were used for the same purposes and many others.

Tonosomanju or Samurai Dogs

The next thing I want to talk about is what the creators incorporated into the Yahari stand before it became hot dogs.

“とのさまんじゅう”って･･･。 

"Tonosamanjū" you say...

たしかに、マンジュウだからなあ。 

Well, it is manjū, after all.

In the Japanese version, Yahari works part-time selling manju to park visitors.

Manjū (饅頭; まんじゅう) is a traditional Japanese confection, usually a small, dense bun with a sweet filling. The standard manjū has a skin made of flour, and is filled with anko (sweet azuki bean paste).

Manju has an exciting history that goes back almost 700 years. It originally came from China, where it was called «mantou». Mantou are actually steamed buns filled with meat or left plain. 1341 a Japanese envoy visited China and brought these buns to Japan. Once in Japan, they were renamed manju (Japanese reading kanji 饅頭). 

Even such simple buns vary widely, and in different prefectures they can be presented in different shapes and fillings:

Mizu Manju (water sweet bun)

First appearing - Ogaki City in Gifu Prefecture. Traditional summer desert. Skin made of jelly-like texture from kuzu (kudzu) starch, which filled anko (traditionally) or other paste.

Momiji Manju (Momiji (紅葉) autumn leaves of red maple)

On Miyajima Island in Hiroshima, people shape this sweet bun like a maple leaf. Bakers use buckwheat and rice flour to make the bun, usually filling it with sweet red bean paste. Popular souvenir production. 

Jumangoku Manju 

This is a specialty from Gyoda, a town in Saitama Prefecture. Its name comes from the Oshi clan in Gyoda during the Edo period (1603-1868). Bun made of the rice flour filled with anko. 

Sake Manju

For this manju, rice malt was added to wheat flour. The Nanbu region in Aomori Prefecture, known for using grains like chestnut, wheat, and buckwheat. People especially enjoy this sweet during summer events and festivals like the Children’s Festival and Obon.

Fu manju

This is known for its distinctive and sticky texture. Unlike the regular type of wheat flour, this one is made from gluten dough, a mix of glutinous rice flour and wheat flour. The buns are often wrapped in bamboo leaves. 

Emperor Meiji loved «Fu» (a breadlike food made of wheat gluten) and he requested wrap «An» paste inside of «Fu» cake.

Then Yahari explains to us that the name was originally different, but was changed for marketing purposes (which had a pretty good effect):

なんていうか、ひょうたんの形に見えますけど……。

How should I put it… it looks like a gourd in shape….

ああ。アレ、もともとは “ひょうたん湖マンジュウ”だし。

Ah. That, originally, is “Hyōtan Lake Manjū.”

I couldn't find any examples of gourd-shaped manju online, but who's stopping us from imagining it, since there are maple leaf-shaped ones?

By the way, it's ironic that the Japanese version doesn't have a manju illustration on the banner, but they added one in the localization.

Well, Yahari didn't explain the «joke» with the dogs, which wasn't in the original.

And here I'll quibble a bit about the «necessity» of localization, because from what I could find online, manju are so popular in Hawaii (and were even 10 years ago, even before the localization was released) that they've even been adapted to suit common foods there (pineapples, mangoes, apples, and other fruits). Traditional Asian bean pastes are also common. The only differences are the dough (made with all-purpose flour) and the crispy crust that forms after baking in the oven. It might not be as recognizable (to the point of being obvious), but it's so fitting, you don't even have to invent anything.

Well, hot sweet buns are more suitable for a cold winter... Only if it's the cooking process (though it's unlikely Yahari would have been trusted to knead the dough for manju – they were just ready-made frozen buns for steaming or cooking in a pan). I don't know, an explanation could have been found if one had wanted.

Kansai people

And now let's talk about some regional stereotypes that exist in Japan and that are played out through one of the characters.

I'll say right away that these are stereotypes, not confirmation of the fact that «they're all like that», and they're most often an exaggerated representation of the typical behavior of residents of a certain region (and this exists in all countries of the world), so treat this as part of the story and with humor.

“あら、カンサイ人てケチですね” みたいなカオして！

With that face like, "Oh, Kansai people are so stingy"!

ゆうとくけど、カンサイ人は、ケチャちゃうで！

But let me tell you - Kansai people aren't stingy!

ウチが個人的にケチなだけや！

I'm just personally stingy!

I'll be discussing the Kansai and Kanto regions now (because they're often contrasted), so to avoid confusion, here's a little background:

Kansai is a region of western Japan on the island of Honshu. The region's center is Kyoto Prefecture. It contains seven prefectures (Wakayama, Kyoto, Mie, Nara, Osaka, Shiga, and Hyogo).

Kantō is a region on the island of Honshu. It contains the capital, Tokyo, and seven prefectures (Gunma, Tochigi, Ibaraki (Northern Kanto Subregion), Kanagawa, Saitama, Chiba, and Tokyo).

It so happens that there are constant disputes between these two regions, as after the decline of the originally dominant region and its capital, Kyoto, the city of Edo (now Tokyo) gained power and took over. Kanto, to Kansai, is an upstart. Kansai, to Kanto, is hidebound.

Natsumi Osawagi (or Lotta Hart, as she was introduced in the localization) is literally created to exaggerate the average person in the neighboring region (she's a representative of the Kansai region). I won't compare who's better here, but rather focus on how differences in culture and behavior create the images we believe in.

For example, if you ask almost anyone in Japan to describe a typical «Kansai-jin» (関西人), they'll immediately picture a certain kind of person: talkative, quick with a joke, comfortable getting close to strangers. It's one of the only regional identities in the country that functions as its own recognizable stereotype nationwide.

And let's remember Natsumi: she's very talkative, not shy about interacting with strangers, and very hungry for fame and attention. A real classic.

In her monologue, she also voices another stereotype that circulates within the country and among residents of other regions, especially the «Polite Kantō» stereotype - that all Kansai residents are stingy.

However, as the region's residents themselves describe it: «It's less about being stingy and more about a genuine culture of «good quality for a good price». Getting something great without overpaying for it is treated as a point of pride here, not a compromise. A cheap meal that's genuinely excellent gets more respect in Osaka than an expensive one that's just fine».

Natsumi herself does the following: she tells Naruhodō and Mayoi not to listen to or confirm existing stereotypes, because just because she's from Kansai and a miser doesn't mean everyone there is. And this, to some extent, serves a teaching role, as it forces people to think about their own preconceptions.

Natsumi, of course, speaks the Kansai dialect (Kansai-ben 関西弁), and here are some pronunciation peculiarities she uses:

ウチ (uchi) is "I" (feminine/colloquial, often used in Western dialects of Japan - Kansai-ben).

ケチ (kecha) (dialect pronunciation) ケチ (kechi)  - meaning stingy/greedy.

ちゃう (chau) (dialect negation) of じゃない ( ja nai, meaning «are not»).

で (de) is a dialect particle of affirmation/clarification (instead of だよ da yo).

If you're curious, you can find numerous articles online about the rivalry between the Kanto and Kansai regions (you can even search for it) to learn about this millennia-old dispute, which boils down to one thing: people of the same country are still able to find common ground despite all their differences. For example: here or here or here

For now, the GKS Instructive is closing its doors, but the next part of «Lost in Localization» will follow soon, diving headfirst into the 1-4 story.

See you there!

[croquis-el]

Differences in localization and the original of Gyakuten Saiban / Ace Attorney pt.3

Nature has been so purified that we're back to the Lost in Localization! Hooray!

This time, we're dealing with Case 1-4 (Turnabout Goodbyes/ Gyakuten, Soshite Sayonara), which managed to make a splash where it seemed like there was nothing to touch. This mostly concerns, by the way, the character Phoenix, i.e., Naruhodō, who lost his reactions where they existed and acquired them where they shouldn't have. But there are also a few linguistic peculiarities that couldn't be transferred (or weren't wanted) to the localization.

Was there poetry?

The first thing we'll notice is our hero's attempt at poetry when they arrived at the nature park. For comparison, let's first look at the lines they wrote for the localization. I'm not an expert on English poetry, but it seems like a mere statement of fact, even though the character eventually says there was an attempt at poetry.

Now let's turn to the Japanese version, where Naruhodo tells us the following:

葉を落とした木々に、

 冬の訪れを感じる今日このごろ。

In the trees that have shed their leaves,

I feel the coming of winter these days.

うーん。冬は人を

 詩人にさせるなあ。

Hmm. Winter really does make a person into a poet.

These lines are close in rhythm and image to a haiku or poetic sketch, but all the necessary rules are not followed, which makes it similar to a zuihitsu or free haiku (Jiyu-haiku, 自由律俳句)

What rules exist for haiku:

three lines

a 5-7-5 syllable pattern

a seasonal word - kigo (季語, relating to the seasons)

kireji (切れ字 - a «cutting word» that divides the verse into two semantic parts)

the theme of «contemplation» of nature.

Why, what Naruhodo created is similar to classic haiku:

there is a seasonal word - 冬 (ふゆ, fuyu) - winter (and leaf fall as its harbinger - 葉 (は, ha) - leaves; foliage)

nature is observed without direct authorial assessments

the tone of the poem is contemplation, i.e. the sensation is conveyed through an image, and not through an explanation.

What is different:

the number of syllables does not match (here there are 24 - 10 in the first line, 14 in the second, and not 17 as needed)

there is no kireji (cutting word)

and there are 2 lines (however, there is a possibility that there was simply not enough space for the third).

If we take this as a jiyu-haiku, in which there is:

no rule for the number of lines (can be any - 2, 3, 4),

the rhythm is free (there is no strict adherence to 5-7-5)

the seasonal word is no longer necessary (after all, the theme does not focus only on nature)

kireji also cannot always be included

then our verse fits quite well within the framework.

Notice the words Naruhodo uses to create the verse:

木々(きぎ, kigi) every tree; [numerous] trees.

訪れ (おとずれ, otozure) – coming; visiting. The word is used for both animate objects and seasons, so he’s technically «animates» winter.

感じる (かんじる, kanjiru) to feel; to sense; to experience

今日このごろ (kyō kono goro) - these days/lately. This part shows a moment that drags on/lasts for some time.

If you want to feel what 今日このごろ means in English, think of the Present Perfect Continuous. It's the same sense of time flowing through the present moment.

By the way, here's for those who want to try reading:

Ha o otoshita kigi ni,

fuyu no otozure o kanjiru kyō kono goro.

This, of course, could also be attributed to Zuihitsu (随筆, «following the brush») - a genre of Japanese short prose in which the author freely records his thoughts, impressions, sketches from life, and reflections as they arise, without being bound by a strict structure. However, we should not ignore the character's words that he was attempting to compose a poem, and not simply voicing his thoughts.

ねー、サムいよなるほどくん。早くどこか行こうよ。

Hey, it's cold, isn't it, Naruhodo-kun?

Let's go somewhere soon.

(サムいって、ぼくの詩か？) 

(Wait, «cold» - is that my poem?)

And we remember that サムい (samui) not only denotes cold, but also slang for «unfunny, stupid, awkward». So, in other words, Mayoi is clearly trying to pick on Naruhodō here.

A Little Bit of Childhood

Let's take a break from high art and chat with Yahari (Larry in the localization), who gives us an important insight into one of the characters.

ヤッパリさんが御剣検事のこと、知ってるワケが・・・ 

Why would Yappari-san know about Prosecutor Mitsurugi...

そうさ。成歩堂と３人、よくツルんでたぜ。 

Well, you see. The three of us with Naruhodo used to hang out together a lot.

あいつ、あのころからおボッチャンでさ。

That guy, even back then, was such a spoiled rich boy.

“おとーさんみたいになるんだ” って、おベンキョウしてたよ。 

"I'm going to become like my dad" - that's what he was studying for, you know.

So, here Yahari describes the impression Mitsurugi made on him even before he transferred to another school.

He calls him おボッチャン (o-botchan)

坊ちゃん (ボッチャン, Botchan) - a word meaning a young man from a wealthy family, spoiled and ignorant of life.

(If anyone reading this has watched Black Butler with subtitles, they've probably heard that «Ciel» is also constantly called this by all the servants, especially by Sebastian.)

So, Mitsurugi was already quite privileged when he lived with his father. This suggests he didn't suddenly become wealthy and aristocratic when Karuma took him under his wing, much less when he began earning a lot of money as a prosecutor. In fact, his social status hadn't changed, and he was already quite accustomed to this life. His upbringing up until age 9 and his manners had simply become a mechanism for adapting to the new environment.

And the fact that in the localization, Larry calls his school friend a «stick in the mud» seems to slightly alter the speaker's attitude toward the person he's actually talking about.

The Cambridge Dictionary tells me that «stick in the mud» is an idiom used to describe someone who is boring, old-fashioned, or unwilling to try new things or participate in fun activities.

And in what world is a «young privileged gentleman» the same as a «boring person»?

The localization here completely killed the voice and personality of young Miles when Larry quoted him. This gives the impression that Larry disliked him for standing out from the crowd and that his dream wasn't worthy of being remembered.

Meanwhile, Yahari, quoting young Reiji, not only characterizes him as a person but also allows us to hear the child's dream in his own words. On the plus side, he doesn't call him «boring and old-fashioned», but rather highlights his status - a boy from a wealthy family who found common ground with the other kids because he wasn't shy about sharing his thoughts.

Yahari also uses a lot of slang, specifically the verb:

ツルんでた (tsurunda) from the verb つるむ (tsurumu) — «to hang out/spend time together».

Incidentally, when Yahari quotes young Mitsurugi, he pronounces the word «dad» with an elongated pronunciation おとーさん (o-to:-san), indicating a childish or affectionate pronunciation.

Young Reiji was indeed close to his father.

Prosecutor Kenji

ダレだよ、ケンジって。

Who is Kenji?

ケンジじゃなくて検事！ 

Not «Kenji» — Prosecutor!

弁護士の “逆” みたい。なもの。 

Kind of like the "reverse" of a lawyer. Or something.

The gist of it is that Yahari mistook the job title «Prosecutor» for a proper name, so he asked again, «Which Kenji are you talking about?» (The name is written in katakana), which triggered a fit of indignation in Mayoi. For him, Mitsurugi had always been «Reiji», but now some new name had surfaced, so he froze for a bit.

ケンジ (Kenji) — name, 検事 (kenji) — «prosecutor»

Meanwhile, in the localization, Larry attributed our prosecutor to a «knee proboscis». I feel sorry for that guy.

School sports festival?

かなしいほど、この場に マッチしていない万国旗だ。 

It's almost sad - these national flags don't match this place at all.

寒空の下、冷たい風に吹かれて ヒラヒラゆれている。 

Beneath the cold sky, blown by the chilly wind, they flutter and sway.

でも、なんか運動会とか 思い出しちゃうよねー。 

But still, it somehow makes me remember school sports day.

楽しかったなー、“めがね合戦”。 

That was fun, huh - "Glasses Battle."

なんだそれ。“めがね合戦” ? 

What's that? "Glasses Battle"?

あれ？ うそ？・・・知らない？ “めがね合戦”。 

Huh? No way? ... You don't know? "Glasses Battle."

聞いたことないぞ。 

Never heard of it.

・・・あたしたちの学校だけだったのかな・・・ 

... I guess it was only at our school after all...

(だから、なんなんだよその競技は！) 

(So what the hell is that event anyway!)

It would seem there's nothing to quibble about – the flags are all true, and so is the «Glass Battle». But the location has somehow changed.

運動会 (Undōkai) - school sports festival.

学校 (gakkō) - school; college; educational institution.

What local fair? Where did the mention of school get lost? Is it the village of Kurain that has this kind of fun, and not just the school Mayoi attends? There's no clarification, so the first thing I think of is a specific locality, not just any institution. It's just one word... Sigh.

思い出しちゃう(Omoidashichau) - to suddenly remember.

万国旗 (Bankoku-ki) - national flags. Literally, «flags of ten thousand countries» (all the countries of the world).

ヒラヒラゆれている (hirahira yurete iru)

Hirahira is an onomatopoeia for a slight flutter. Yurete iru means «to flutter». Naruhodō paints this sad picture for us.

Bad choice of surname

アイツの伝説は、 いままだ健在だったな。

The legend of that guy is still alive and well.

“事件のカゲに、ヤッパリ矢張” ……ってね。 

"In the shadow of every incident — Yappari (as expected) Yahari" …… you know.

In the Japanese version, the character's surname, Yahari (his given name, Masashi), is very cleverly played up, as the word ヤッパリ(Yappari) and his surname 矢張 (Yahari) are homophones and mean the same thing: «as expected/still».

And the wording, «in the shadow of every incident - as expected Yahari» is quite poetic and reminiscent of a proverb or legend, and doesn't carry any negative connotations or foster ill will toward the character.

Now, can someone explain to me what I'm supposed to associate the name Butz with, especially if smell is mentioned (even as an idiom, «suspicious»), other than... An unpleasant situation. Why did they do this to him?

Straying from the toilet humor, they could have easily chosen a different surname for him, and even better, based it on an existing idiom. This is what came to my mind

Where there's trouble, there's Trowell.

Where there's foul play, there's Fowles.

When someone's in a pickle, it's usually Pickle. (be in a pickle - to be in a difficult situation)

And those are all the existing names.

You have the right to agree with me, disagree, offer your own ideas about why this localization was chosen (without insults, of course), but these points are very important for preserving the identity of the characters, so we can get rid of them.

That's all for today. To avoid overloading this already long post, I'll take my leave here and bring you the next part soon. I've unearthed so many treasures, mmm.

[croquis-el]

Tell me what you watch on TV

Authentic Japan in Gyakuten Saiban pt.7

Wow, an update! What a twist.

But seriously, I've brought you a new installment in the «Authentic Japan in Gyakuten Saiban» series. This time, we'll be talking about the animation referenced in this franchise.

The dialogues I'm referring to are triggered in case 2-4, when Naruhodō and the Ayasato sisters arrive at the banquet at the Banto Hotel at the very beginning of the episode. And all this before the dialogue with the actor for Tonosaman (the Steel Samurai), so if possible, don't open all the dialogue with Mayoi just yet, but poke around the location (so you can check for yourself). By the way, I'll be referring to and translating the Steel Samurai as «Tonosaman», just to avoid confusion.

ああ、ホント、今日はユメみたいだなあ。

Ah, seriously, today feels just like a dream.

いろんなヒーローにスター、カントクさんまで見られたし。

We got to see all kinds of heroes, stars, and even the director.

ぼくはほとんど知らなかったぞ。

Well, I barely knew anything about it myself.

ダメだなー、なるほどくん。ニュースばっかり見てちゃ。

That's no good, Naruhodo-kun. You shouldn't spend all your time just watching the news.

日曜日の朝8時はトノサマン・丙でキマリ!

Sunday mornings at 8 AM are officially locked in for Steel Samurai: Third Generation! (Tonosaman: Hei)

Hei (丙) is the third character in the ancient Chinese system of cyclic characters (ten stems). In modern Japanese pop culture, it is often used to denote a third season, a third version, or a new generation of heroes. And as we know, Tonosaman and Himesaman already have a son – Wakasaman, who was translated in the localization as «Iron Infant» for some reason, although he is actually a «young master» – wakasama (若様). (Someone in their head heard Sebek shouting in admiration of Young Master Malleus, and someone else heard Agni trying to reason with Prince Soma.)

そうだ! 来週からいっしょに見ようよ。

I know! Let's watch it together starting next week.

At this time, Naruhodō is not yet enlightened by the Tonosaman franchise, as his knowledge of them is limited to a former client and nothing more, so he's not particularly interested in people from the industry (he firmly adheres to the rule: I don't need to know about this yet). But he always watches the news to keep up with what's going on in the country (which is actually quite useful for a lawyer). So Mayoi decides to take matters into her own hands:

あたし、たたき起こしてあげるから。

Don't worry, I'll beat you out of bed to make sure you're up.

Haha, but the problem is that Tonosaman is broadcast at 8 AM on Sunday, which, judging by Naruhodō's reaction, is quite early for him.

But apparently, everything is solved by brute force:

たたき起こして (tatakiokoshite) is a verbal expression of 叩き起こす (tatakiokosu).

Composed of 叩く (tataku - to hit, to beat) + 起こす (okosu - to wake). It means «to unceremoniously shake», «to lift from bed by force», «to knock out of sleep».

As I would say in the same context: «will you kick me?» (meaning «wake me up at the right time», not something truly terrifying).

････いいよ、気をつかってくれなくても･･･。

…It's fine, you really don't have to go out of your way for my sake…

Help him...

Okay, I promised to tell you about the animation, not dwell on the fact that Naruhodō is still asleep on Sundays at 8 AM.

はみちゃん、知らないの?《トノサマン・丙(へい)!》。

Hami-chan, you've never heard of it? It's «Tonosaman: Hei (Third Generation)!»

はい。わたくし、日曜日はもっぱら 『世界こども名作劇場』を……。

Yes. On Sundays, I devote myself exclusively to the «World Children's Masterpiece Theater»…

It's noteworthy that here Harumi (whom Mayoi calls «Hami-chan») uses the word もっぱら (moppara). This means «exclusively», «to do nothing but…», «to devote oneself entirely to something», emphasizing Harumi's proper, old-fashioned, and modest upbringing (her personal address «watakushi» already speaks volumes, even though she's only eight years old).

Meanwhile, Mayoi has surprisingly absorbed all of modern culture and is replete with slang and loanwords on par with the Kansai dialect.

ダメだよ、はみちゃん。ヤングはみんな、トノサマンなの!

That won't do, Hami-chan! All the cool youth watch Tonosaman!

なるほどくんもやはり、トノサマンがお好きなのですか?

Do you also happen to be a fan of the Tonosaman, Naruhodo-kun?

あー、ダメダメ。なるほどくん、 もうヤングじゃないから。

Ah, no way, no way. Naruhodo-kun isn't part of the «youth» anymore.

She excludes Naruhodo from the ヤング (yangu) group. This word is a direct loanword from English («young»). In Japanese in the late 20th and early 21st centuries, this word was used as slightly ironic or, conversely, playful slang for «advanced youth» or as a designation for media/magazines/etc. for young men/women (for example, there's the magazine Young Gangan (ヤングガンガン), which published things like DARKER THAN BLACK and WORKING!!).

I'm not very good with English slang and haven't kept up with all the latest trends (Naruhodo🤝), but now it's something like «woke» or «slay»? (While searching for examples, I discovered that I'm apparently now a «chuegy» lol).

By the way, by that logic, Mitsurugi is quite «advanced» since he's captivated by Tonosaman's charm.

そうだな。ぼくは『世界こども名作劇場』のほうが好きだけど。

True. Though personally, I actually prefer the «World Children's Masterpiece Theater».

うわあ。 お子さまだねー、なるほどくんは。

Wow, what a total kid you are, Naruhodo-kun.

Here, Mayoi calls Naruhodo お子さま (Oko-sama), which is a respectful form of 子供 (Kodomo - child). But this is literally just another insult we hear from Mayoi directed at Naruhodo. I don't know how to translate this into a single word (slaaaaaang), but it literally means «you look like you've just crawled out of kindergarten».

Now, let's get to the program that the «uncool» Naruhodō and Harumi watch on Sundays.

It's called 世界こども名作劇場 (Sekai Kodomo Meisaku Gekijou - World Children's Masterpiece Theater), a direct reference to the real-life program 世界名作劇場 (Sekai Meisaku Gekijou – World Masterpiece Theater), which sometimes appears under the abbreviation 名劇 (Meigeki).

It aired on Fuji Television from 1975-1997 and from 2007-2009 in prime time (7:30 p.m. or 7:30 p.m.) and was produced by Nippon Animation. It was preceded by Calpis Comic Theater (running from 1969 to 1974), then Calpis Children's Theater (1975 to 1977), and immediately before that, Calpis Family Theater (1978-1979).

The first series aired under the World Masterpiece Theater title was Anne of Green Gables in 1979.

At this time, the official websites of both the animation studio and the program itself list DOG OF FLANDERS (1975) as the first series created for this program block. This happened because production of the series, starting with episode 21, transferred from ZUIYO Co., Ltd. to Nippon Animation (employees of the former company founded the latter). Therefore, DOG OF FLANDERS formally continued to air in the Calpis Children's Theater program block, but it was produced by a different studio, as were three other series that followed.

By the way, you can find the full list of programs here (the Nippon Animation website) and here (the World Masterpiece Theater website itself).

Each series has between 26 and 52 episodes (not including feature films). The timeslot showcased a different classical book or story from European or North American children's literature each year.

We can only assume that this is most likely how Naruhodō spent his Sunday evenings (the game doesn't discuss the airing times of this particular program, but we know about Tonosaman), so his interests aren't limited to watching the news. Naruhodō is generally quite secretive – you have to listen carefully to discover his interests. The very fact that he's incredibly strong, can play poker well, perform simple magic tricks and acrobatics, has a keen appreciation of art, and is adept at making his interlocutors or opponents listen to him speaks volumes about his background (I'd like to clarify a couple of facts in Japanese, but few people check the details I need in letsplays, so I'll have to dig around and search from scratch).

So, that's the kind of reference to classic Japanese animation that was presented to us in a somewhat veiled form. I'd love to see your comments and reblogs!

[croquis-el]

i was wondering if youve ever watched the ace attorney stage plays? theres this bit where Phoenix is always mispronouncing something, especially in turnabout spotlight! do you think thats consistent with his character, i just saw your post about him caring about grammar but hypocrites do exist

Hello! I'm so sorry I haven't responded sooner, so I hope you'll give me a chance to make amends.

Yes, I've seen a few stage plays that were available online: as far as I remember, they were Turnabout Spotlight, Farewell My Turnabout, and Turnabout Teleportation (but Mitsurugi is the central character in those, so it's not really relevant).

My thoughts on the stage plays director(s)' decision to give Naruhodō a new character trait that disrupts his overall image are simply a free interpretation of the work within the established universe. The fact that the plays uses the characters' images simply means that negotiations were held with the copyright holders regarding the commercial use of their work. But that doesn't make the stage plays canon, especially if there's even a slight contradiction with canon (and now let's remember what exactly the court proceedings in the game are based on).

The reason I personally don't accept these plays as canon is because one of the main character's most striking traits has been completely reversed.

If in the original, Naruhodō had only corrected someone's pronunciation a couple of times or focused solely on the ladder/stepladder dilemma, we might have dismissed it as purely comical. Exaggeration for laughs is a typical trope, free to be twisted as we please, because it would simply be a one-sided fixation, a character quirk. But if he finds any excuse to correct his opponent (no matter who it is - the judge, Mitsurugi, Mayoi, a detective, a witness, or the accused), then it goes far beyond a simple comedic element. Yes, it's funny, but this pattern reveals a character trait inherent in the character.

While Mitsurugi couldn't care less if he misspoke or misspelled, for Hodō, it's a real trigger. He himself says he has a "tsukkomi" spirit (literally, "nitpicker") that he must try to restrain (referring back to this post). Saying wrong himself while trying to correct others isn't something Naruhodō himself could ever accept; he has too much self-discipline for that. Yes, he may not know something, but if someone touches on his interests and expertise, he's ready to defend it to the bitter end. If he's decided to speak correctly, then he will do so (remember that he's also very stubborn and always sees his plans through to the end). At least, he hasn't been observed to exhibit one without the other. In other words, it's canon because that's how it was in the source material.

If someone writes scripts or stages plays based on the story, changing certain character traits, it can't be considered canon in any way. Fanfiction even has a special label - OOC - that authors use when they change something about a character's personality (you do that, right? Right?). Even localization can essentially be considered a free interpretation, as Phoenix Wright's character differs from Naruhodō Ryuichi's in many significant ways (as do Mitsurugi and Edgeworth, by the way).

In short, Naruhodō is a "nitpicker" who doesn't allow himself or others to mispronounce words; the stage plays are licensed interpretations/spin-offs based on the original source material, so they shouldn't be taken as references.

Remember, no one is stopping you from watching any content based on your favorite franchise. Just remember where the original ends and the fiction begins.

[croquis-el]

hello! in another post you mentioned that april may's 'other side'/anger is very interesting in Japanese! can you explain? thank you :)

Umeyo's "other" side

Promised - I’ll keep it! Today, we will learn how to theatrically (and not very) insult everyone around us (unless it is necessary skill), using the example of Shochiku Umeyo. We'll also briefly touch on the moments when Naruhodō switches on his cool-headedness and simply prevents opponents from driving on his ears.

You remember that, beyond her burikko side, Umeyo is quite rude in her words and doesn't tolerate being addressed in the imperative mood (assuming she considers any requests or instructions, at least within the framework of a court case, to be such). Naruhodō, of course (sounds so sad), gets the brunt of it, but the judge isn't immune either. Let's take a look:

何だっつーのよ! このギザギザアタマがぁ!

What’s that supposed to mean?! You spiky-head!

And the first clue we stumble upon is the nickname she gives Naruhodō. Surprisingly, no one initially compares him to some kind of spiky animal (the localization presented him as a porcupine; I have my doubts about a sea urchin – has this ever happened?), but they simply call him «spiky-head» because of his hairstyle.

ギザギザ (gizagiza) - notch; tooth; serration (or similar adjectives). It's not even a «spike» in the true sense, but rather like the teeth of a hacksaw or a circular saw blade. But it sounds strange, so let's go with «spiky». This word is an omanotopeia (I'm sure you've already heard a few common ones – kira-kira, pika-pika, etc.).

っ つ ー の (ttsū no) - a colloquial abbreviation from «to iu no». Adds a tinge to the phrase of anger: «I say…» or «What do you mean by…»

I mean, the trend is already starting to emerge - she uses a lot of colloquial words and slang.

あんな時計のことなんか、 どうだっていいんだよ!

I don't give a damn about that clock!

な ん か (nanka) - a particle that diminishes the importance of an object (these «some things» clocks).

ど う だ っ て い い (dou datte ii) - a sustainable phrase «no matter», «whatever».

Somewhere one Yahari (Larry Butz) was sad. Although his creation (both) were desecrated by bad fame.

あのコムスメがやったんだ! とっとと死刑にしちまいな!

That brat did it! Put her to death already!

Well, here she is on the verge of freaking out because she allows herself a rude and contemptuous treatment of a girl – Mayoi – in a rude and contemptuous manner. コムスメ (小娘 / Komusume) – «chit», «brat».

に し ち ま い な (ni shichimaina) - a crude abbreviation from «ni shite shimai nasai». Adds a touch of completeness and neglect with action. Umeyo quickly grew tired of of testifying, and now the lawyer is too demanding of witnesses. How cruel the world is to her!

な、何よこのタコ! 気やすく話しかけるんじゃないよ!

Wh-what do you want, you bald-headed jerk! Don't act so friendly with me!

And here, the presiding judge has already fallen under her wrath. And she uses a word I wouldn't have thought could be considered a curse word - the octopus. Yes, here the word タ コ (tako), which literally means «octopus», as a curse means «fool» or «bald-headed jerk». And the judge is also bald… What can be said is that the theory of the chosen word is «good».

気 や す く (Kiyasuku) means «simple», «family-friendly», «without ceremonies». So, trying to reason with the enraged Umeyo by lowering the pressure not only didn't help, but actually made the situation worse.

うるせえんだよ! 気やすく話しかけるんじゃないよ!

Shut up! Don't you dare act so familiar!

Besides her vocabulary being full of slang, she also uses «masculine» language: うるせえ (urusee): the rough, masculine (or boyish) form of urusai (be noisy/shut up).

できるわよ! 決まってんでしょ!

Of course I can! It's obvious!

決 ま っ て ん で し ょ (Kimatten desho) - short for kimatte iru deshou. Means «by default», «decided».

ハン! サムいオトコね。いまどき“そんなバカな!”って!

Ha! What a pathetic guy. Saying «Impossible!» in this day and age!

The first thing we notice is that in the original, she says サムい / 寒い (Samui), which basically means «cold». In slang, this word is used when someone says something really unfunny, stupid, or awkward (for example, «your joke made me feel cold»).

Here, she makes fun of Naruhodō for using the phrase そんなバカな (Sonna baka na) - Impossible! - because it sounds so theatrical and artificial. You might have heard it yourself in the titles if you watch with subtitles.

When Naruhodo comes to the detention center to question Umeyo again, she loses her mind even faster than she did in the courtroom. Their dialogue here is very interesting in terms of both Umeyo’s vocabulary and Naruhodo’s reactions.

こーんなムサっ苦しいところまで、 わざわざ会いに来てくれたのねぇ!

You came aaall this way to such a gloomy place just to see meee!

ム サ っ 苦 し い (musakkurushii) – «dirty», «uncleaned», «cramped and soulful». Often describes prison cells or a lair (well, logical use).

梅世、カンゲキしちゃうなぁあ。

Oh, Umeyo is just so moved.

This leads us to believe she already knows and sees who has come to see her, as she's showing signs of her true nature. カンゲキ (kangeki), which expresses emotional shock and profound impression, sounds almost mocking. She literally drips with sarcasm. And in her next line, it's clear why.

………って、フザけんじゃないわよ!

…I mean, don't mess with me!

She continues the previous sentence just like that, confirming her sarcastic tone. フ ザ け ん じ ゃ な い (fuzaken janai) - a very common rude phrase «Don’t mess with me», «Don’t be cheeky». We usually hear it in anime when someone is picking a fight or starting one.

なんなの? 梅世をワラいに来たってワケ?

What is it? You here to laugh at Umeyo or something?

Here she again uses the colloquial word っ て ワ ケ (tte wake) – «therefore», «it means».

Next will appear phrases of Naruhodo (just warning you not to get confused). As for example now:

い、いや。ちょっと聞きたいことがあって……。

N-no. I just have something I wanted to ask…

Simple, formal speech. The only catch is that Naruhodō stutters and speaks with a bit of reserve, which affects his interlocutor's response.

あいにくこっちには、聞かせたいことなんて、ないの。

Unfortunately for you, I don't have anything I want to tell you.

Because she is addressed politely, she continues to mock and あいにく (аiniku) - the formal word for «unfortunately» - sounds here with a hint of arrogance.

とっとと帰んな! こぉの、ギザギザアタマぁ!

Get the hell home already! You… you spiky-head!

Apparently, she can’t think of other insults than those based on looks (well, we’re not upset).

と っ と と (Tottoto) - a term meaning «quickly», «immediately», often with a hint of irritation. (recalled me Issiki Totomaru, whom Ron calls トト(toto) and Spitz - トトト (tototo), although his name uses other kanji 都 (to) with the meanings «metropolis, capital» and 丸 (maru) – «round, circle, pills, purity, complete». Even though Ron said he did it purely from-for convenience, not adding any meaning to it, but who knows - in meaning is very suitable). Okay, we’re a little distracted, let’s keep going.

帰 ん な (kaenna): short for kaerinasai - get home - (imperative form), but here it sounds rude and dismissive.

I'm honestly surprised by Naruhodo's composure, which he shows from the very beginning (this is especially noticeable when he comes to the pretrial detention center), because all he answers her with is:

(････やれやれ････)

(Good grief / Sigh…)

He just… sighs (yare yare) in his internal monologue. And then he starts acting completely differently – he starts pressing her where it hurts, but remains surprisingly unperturbed.

････あそこの看守さんがビビってるよ。

…The guard over there is shaking in his boots.

Well, first of all, he presses her pain spot - her weakness for men - when he mentions that the guard she tried to flirt with earlier is intimidated by her behavior. Secondly, he starts speaking her language: ビビってる(bibitteru) is a slang word that comes from bibiru – «to be frightened, nervous», or «to be scared». Very colloquial.

Ha, and you thought he only spoke polite language and only used diplomacy? Pfft, no. He can swear just as well.

(とりあえず、そのネジれた性格のことを聞きたいよ････)

(For starters, I'd like to ask about that twisted personality of yours…)

Haha, now it's Naruhodo's turn to be a pest. ネジれた (nejireta) literally means «twisted», «crooked», but in terms of character – «spoiled», «difficult», «stubborn».

あん、やめてよ“盗聴”なんて。人聞きが悪いでしょ。

Hey, stop calling it «eavesdropping». It makes it sound so bad.

Wow, so now you're worried about your reputation.

人聞きが悪い (hitogiki ga warui) is an idiom meaning «to look bad in the eyes of others» or «to sound indecent/scandalous». Are you trying to save face in front of the prison guard?

うわあ。それで、うまいコト言ったつもりなのぉ? サムぅい。

Whoa. So, you think you said something clever just now? Cringe.

Now she's gone on the offensive again, responding sarcastically to what the lawyer is saying. つもり (tsumori) – «intention». In this context, it's sarcasm: «You seem to think that…»

She's «cringing» again. But as we know, no one was joking or saying anything stupid, so she's simply trying to pressure Naruhodō, hoping he'll back off. But since he's persistently trying to extract information from her, her true nature comes out again, and we get:

うるっさいわね! この、スットコドッコイ!

Shut up! You clown!

すっとこどっこい / スットコドッコイ(Suttokodokkoi) is an old-fashioned (there's a theory that it's a holdover from the Edo period, but no one can say for sure), almost comical curse word. It means «fool», «slob», or «clown». It's so rarely used that only a few dictionaries (Sanseido or Shinmeikai) list it. It's sort of… sort of a curse word, but also sort of humorous. No wonder Naruhodō is taken aback by her sudden choice of word. (Incidentally, there's an active all-female rock band with the same name.)

(彼女のボキャブラリーにはある種、シビれるものがあるな)

(Her vocabulary has a certain… electrifying quality to it.)

シ ビ れ る (Shibireru) literally means «to go numb» or «to feel a tingling sensation». In slang, it means «impressive», «bone-chilling», and «cool» (in an ironic way).

That's how it is. The very first thing we're presented with in the game is uncultivated land - there's so much to discover. It's so great that you ask questions, and I can learn and explore the world of GKS with you.

[croquis-el]

I'm not sure if you've made this post yet but, with Franziska/Mei, what does the "foolishly foolish fool" dialogue look like in Japanese?

Karuma's favorite word

Oh, thank you for the question and the opportunity to shed light on this topic.

When I started looking for these moments in the cases, it seemed like there were many more; perhaps I was simply succumbing to false memories. However, it's surprising – she says the most variations of バカ – baka (which Karuma Mei uses in the original) during the court hearings of Case 2-2, that is, during our first meeting (seven times). Then she slows down a bit, and such tongue twisters appear only a few times during the case. Now I'll show you only a part of her arsenal (to keep things short and to keep the suspense up, haha), and then I'll add the second part. Let's begin.

First of all, I want to point out that the word 馬鹿 (バカ – baka) and all words derived from it carry multiple meanings, which depend on the context of use, the mood and personality of the speaker, and other subtleties. Here's an approximate list of the possible meanings this simple word can convey:

Fool, stupidity, nonsense, idiot, blockhead, absurdity, nonsense, idiocy;

if you add -na: foolish, stupid;

-ni suru: to lead by the nose, to mock, to make a fool of someone;

So it would be simply unfair to Karuma Mei to use just one, given her genius and desire to show off her intellect. Although she herself admits to being somewhat removed from Japanese culture (due to growing up in America), her desire to be perfect couldn't help but influence her knowledge of the language. Therefore, it was a strange decision to localize her «philosophical» statements as the rather harmless curse word «fool» and not change it in any way depending on what she said. And yet, this is the only way she juggles words, even though it seems like a hackneyed phrase to us. Let's take a look:

バカのバカさわぎほど バカげたものはない････。

Baka no baka-sawagi hodo bakageta mono wa nai....

Nothing is more idiotic than the idiotic commotion of idiots....

バカさわぎ (baka-sawagi): «a noisy drinking bout» or «senseless noise/commotion/excitement».

バカげた (bakageta): nonsense, ridiculous, absurd.

From the very beginning, she calls the 2-2 trial «senseless commotion» and tries to push her vision of the situation and convince the judge to dismiss the case and the lawyer to give up without a fight. Clearly, this not only fails, but also makes her escalate.

バカはバカのバカげた意見をありがたく聞くものみたいね････。

Baka wa baka no bakageta iken o arigataku kiku mono mitai ne....

It seems only an imbecile would so gratefully indulge in the imbecilic opinions of another imbecile... 

ありがたく (arigataku): «with gratitude/gratefully». This sounds extremely sarcastic.

････バカがバカにふさわしくバカなことを言ってるようね。

...Baka ga baka ni fusawashiku baka na koto o itteru you ne.

...A simpleton spouting simple-minded nonsense, just as fits a simpleton.

Well, here she switched to the Naruhodo, wrapping insults together with highly intellectual words.

ふさわしく (fusawashiku): «appropriately», «just as fits».

バカのバカによるバカのためのバカさわぎ･･

Baka no baka ni yoru baka no tame no baka-sawagi...

An idiotic commotion of the idiots, by the idiots, for the idiots...

There's a curious twist here: this phrase is a direct reference to Lincoln's Gettysburg Address's formula for democracy («and that government of the people, by the people, for the people, shall not perish from the earth»). It's curious, though (I don't remember if they retained it in the localization).

････バカがバカなカオしてバカなユメを見てるようね。

...Baka ga baka na kao shite baka na yume o miteru you ne.

...A witless fool, wearing a witless expression, dreaming a witless dream.

Here she's using name-calling again, because バカなカオ (baka na kao): «stupid face» / «stupid expression». «Fool» here... sounds a bit soft.

バカのバカたるゆえんは バカバカしさゆえコトバにならず。

Baka no baka taru yuen wa bakabakashisa yue kotoba ni narazu.

The reason an idiot is an idiot is so idiotic that words fail to describe it.

Well, here she expresses herself just like a writer.

～たるゆえん (~taru yuen): a bookish, elevated expression «the reason why...»

コトバにならず (kotoba ni narazu): «beyond words».

バカのバカが度をすぎるとバカではすまなくなる。

Baka no baka ga do o sugiru to baka de wa sumanakunaru.

When a moron's moronic behavior goes too far, it's no longer just a matter of being a moron.

度をすぎる (do o sugiru): «go too far».

～ではすまなくなる (~de wa sumanakunaru): «this alone won't be enough».

バカが見るバカなユメに バカなユメを見るバカ････。

Baka ga miru baka na yume ni baka na yume o miru baka....

A dullard lost in a dull dream, observed by a dullard dreaming an equally dull dream of their own...

Here you can see a literary device called recursion – in which a phrase contains nested constructions that refer to itself or generate an infinite repetition of the structure. It's as if the intensity is increased by the constant repetition of references. «I know that you know that I know...» and so on. I'd tell you a horror story from my childhood that uses recursion, but that would be too long and unlikely to be understood, so let's forget it.   

････バカゆえに バカを演じるバカの悲しさ････。

...Baka yue ni baka o enjiru baka no kanashisa....

...The sadness of a half-wit playing the half-wit precisely because they are a half-wit....

演じる (enjiru): «to play a role», «to represent».

悲しさ (kanashisa): «sadness», «tragedy».

Why was more effort needed here? Simply because a simple «fool» isn't enough to convey the full range of derogatory pseudo-intellectual constructs May concocts to elevate herself before grown men. She's accustomed to intimidating opponents, as it was effective in the environment she found herself in as a child. Besides her whip, she has a sharp tongue, which she can't control, often saying things that are unacceptable. And being confined to the «foolish fool» category didn't make things any better – it ended up making it clear that her vocabulary of insults is extremely limited, and that doesn't preserve the tragedy of her early adolescence. It's like a gaping hole in her psychological armor – not strong enough, not vicious enough, not caustic enough.

These are my thoughts. If you have something to share, be my guest; I'm always happy to read your comments and observations.

[croquis-el]

Tomi the Pierrot

In anticipation of April Fool's Day, I decided to do something themed. And how lucky we are to have such a wonderful 2-3 case – Gyakuten Sākasu (Turnabout Circus), or as it's localized – Turnabout Big Top. (At this point, she still doesn't know what she's gotten herself into.)

And who's our biggest joker in GKS? Of course, Mitsurugi, oh, Tomi the Pierrot (aka Moe the Clown).

It’s already April the 1st here, so let's go.

Tomī (トミー) / Matsuo Tomida (富田松夫) - his names are a reference to the Japanese comedy duo known as «Tommy and Matsu» (Tommy to Matsu).

These are the characters from the 1979-1981 series «The Rumors of Detectives Tommy and Matsu» (噂の刑事トミーとマツ/ Uwasa no Keiji Tommy to Matsu). The main characters are two detectives, Tomio Okano (Tommy) and Susumu Matsuyama (Matsu), from the investigation department of the Fujimi Police Station. They are complete opposites, constantly arguing and competing (you know those duos? I can see right through you, right?). The series became a cult classic in Japan thanks to its lighthearted storytelling.

The typical formula for building an episode was the following plot: in every climax featuring brawls or shootouts, Tommy would consistently lose his nerve. Losing his patience, Matsu would bark at him, «You're not a man! You're nothing but a man-woman! Tomiko the tomboy!» Goaded by these words, Tommy would suddenly snap and take down the villains in an instant – a progression that became a staple of the show.

おとこおんなのトミコ (Otoko-onna no Tomiko) is a key trigger for the character.

The word Otoko-onna literally means «man-woman/tomboy» and Tomiko is the feminine version of Tomito (the suffix -ko is traditionally feminine). It was a derogatory nickname that «turned on» his berserker mode.

(Please note that this is not my opinion; this is how 80s humor worked, oozing with gender stereotypes. Although, judging by today, little has changed…)

殉職 (Junshoku) is a specific Japanese term - «death in the line of duty». In the 70s and 80s, it was fashionable in Japanese detective series (for example, Taiyou ni Hoero!) to kill off characters when the actor left the project.

Incidentally, the series was inspired by the American «Starsky and Hutch», which at the time popularized «trusting partnerships» among men in the West (the same «us against the world» or «buddy love»), and followed the same patterns for Japanese viewers.

And so the «buddy cop drama» genre was born, which has spawned many a male duo (William J. Moriarty and Sherlock Holmes, Ron Kamonohashi and Isshiki Totomaru, and, oh my god, even Naruhodō and Mitsurugi, too). C’mon, you clearly know this better than I do.

I've digressed a bit, but it was necessary to understand the character and why his jokes are so... terrible. All of his humor can be described as 駄洒落 (dajare) – the lowest form of humor.

駄 (dada) – low-quality, useless.

洒落 (share) – a witticism, a joke.

Tomi is completely stuck in the era of humor from 30-40 years ago, which was once (back in the 80s) the gold standard of TV comedy. If you've read or watched Jujutsu Kaisen, you've probably already met a character from the Deadly Migration arc: Fumihiko Takaba. Well, that's more or less one level of humor.

A distinctive feature of dajare is that the joke is built solely on similar-sounding words (homophones).

おめでとーございます! ････あなたこそがッ!

トミーの部屋におとずれた、 100万人目のお客サマでーす!

Congratulations! You are... the one millionth visitor to Tomi’s room!

From the moment we enter, we're bombarded with jokes. Since they're mostly based on similarly sounding words, it would be very difficult to translate them while preserving the spelling. However, my goal is to convey the original meaning, and I hope you'll forgive me for taking such liberties.

記念に、このブドウ、 1つぶどう? ････なーんて。

Kinen ni, kono budō, hito-tsubudō? ....Nānte.

As a souvenir, how about... one «grape»? Get it? «Grape» a try? ...Just kidding.

What's the actual pun – ブドウ(budou) «grape» sounds similar to どう? (dou?) «how about? / how do you like it?»

1 つぶどう(Hito-tsubudō) – this is a distorted (shortened for humor) 一つどう？ (Hito-tsu dō?), which means «How about one?» or «Would you like one?»

しかもこのブドウ、 巨峰よ巨峰。････キョホーッ!

And these are Kyoho grapes. Kyoho! ...Kyo-HOOO!

巨峰 (kyoho) – an elite variety of large black grapes. There's no joke here, just the consonance of the variety's name with his silly laugh (kyo-ho-ho!). He simply shouts the name out like an interjection.

By the way, here's how he laughs (kyo-ho, kyu-ho, kyo-ho...)

________________________________________________________________

おぢょーさん。いいねその、 和服のコーディネート!

やっぱりコーディネートは、 こーでねーと! ････なーんて。

Ojō-san. Ii ne sono, wafuku no kōdinēto! Yappari kōdinēto wa, kō de nē to! ...Nānte.

Young lady. I love that kimono coordination! After all, «coordination» has to be «coordinated-right»! ...Just kidding.

コーディネート (koordineeto - coordination/style) consonant with the phrase こうでねえと (kou de nee to - it should be exactly like this). Colloquial abbreviation of - kō de nai to (こうでないと).

«Style should be like this (stylish)». A very popular pun among older people in Japan. Well, it's in the same boat as «wet water», «oily oil», «successful success», and so on, and so forth.

カンバンを守りとおして、 今夜もカンバンわ! なーんて。

Kanban o mamoritooshite, kon'ya mo kanban-wa! Naante.

I'll keep defending my sign, so «Good-sign-ing»! ...Just kidding.

看板 / カンバン (kanban - sign/reputation) in tune with こんばんは/ カンバンわ (konbanwa - good evening).

看板を守る(Kanban o mamoru) - literally, «to protect the sign». Figuratively, it's an idiom meaning «to maintain the reputation» or «to save face» of an establishment/artist.

トミーさん。

なんじゃらホイ。

Tommy-san.

Yes-sir-ee-bob?

なんじゃらホイ (nanjara-hoi) – it's a meaningless, humorous remark when answering a call. It sounds very archaic.

 事件のことなんですけど･･･…。

It's about the case...

 ････そこのニイちゃんが、 おもしろいコト、言えたらな。

...Only if that young man over there can say something funny.

Naruhodo's next attempt at a joke would be, but he warned right away that it wouldn't work very well and the situation wasn't conducive to any kind of humor.

････ヘ、ヘタなシャレは、 やめ、やめなシャレ。

D-don't... don't «pun-ish» me with bad «puns».

やめなさい (yamenasai - stop it) + 洒落 / シャレ (share - joke, pun). > Yame-na-share

This is where Naruhodō gets clever, by the way. He combines the words «stop» and «pun/joke» into one. In other words, he's trying to satisfy the clown's desire and bring the conversation back to the topic of testimony. It's not exactly funny, but it's very clever.

おもしろいモノがアル・カポネ。 ････なーんて。

Omoshiroi mono ga Aru Kapone.

There «is-Al-Capone» something interesting here. ...Just kidding.

ある (aru - there is/there are) consonant with the beginning of the name アル・カポネ (Aru Kapone - Al Capone).

Instead of simply saying «there's something here» he inserts the gangster's name simply because the first two syllables are the same. Of course, it sounds like nonsense when translated, but Naruhodō fully appreciated the «charm» of dad’s jokes.

The clown made many more jokes in court while testifying, but I think his humor is enough for this one. Will they wait until next year? (lol, I think we should do it sooner. I should do a poll or something. Will you vote?)

I also suggest posting Naruhodō's reactions to his jokes – we'll see how different the two versions are, and who makes the best use of language – Phoenix or Ryuichi.

[croquis-el]

Thanks to user @cacophonila, who's added an even more interesting addition to this post. Languages ​​are amazing!

[croquis-el]

Not an ask, just wanted to say how much I enjoy your deep-dives into the linguistic intricacies of the Gyakuten Saiban games. Thank you so much for sharing them!

From the bottom of my heart, thank you💗 I'm glad I have the opportunity to find something interesting and share it with you all!

[croquis-el]

two minor characters, shouchiko umeyo/april may and mimi hanaka/mimi miney, both say words like "like" and "totally" a lot in the english localization.

I was wondering if their speaking styles looked different in Japanese?

Thank you for your question!

I'm sorry it took so long to answer.

Appearances can be deceiving, and we often fall into the trap of superficial attractiveness (both in life and in the media). Well, I think you're all familiar with the fact that authors create handsome villains to create a contrast between their looks and actions and enhance the immersion into the story.

The GKS universe is rife with femme fatales who, given the opportunity, will do anything to ruin someone's life. And these beauties – Shochiku Umeyo and Hanaka Nodoka (or, to be more precise, Hanaka Mimi) – delight us today.

By the way, while reading their voice lines in Japanese, I was somewhat surprised that, despite their seemingly similar appearances, their manner of speech is radically different. The localization effect has once again stifled their unique qualities, leaving us with two «merely hypocritical» girls.

Let's start, as they say, from the beginning, with Shochiku Umeyo.

Her last name, Shochiku (松竹), contains the kanji 松 (shou, matsu), meaning «pine tree» and 竹 (chiku, take), meaning «bamboo», while her given name, Umeyo, contains the character for «plum» (梅).

There's a saying: 松竹梅

If read separately (in Japanese, kun'yomi) it’s Matsu, Take, Ume. However, this combination is almost always read as a single word according to the on'yomi (Chinese reading):

松 (shou), 竹 (chiku), 梅 (bai)

Together, they become Sho-chiku-bai. In Japan, it's the name of a very popular sake brand and denotes three quality levels (for example, on restaurant menus: sho (premium), chiku (medium), and bai (basic). The irony is that they symbolize noble character, fortitude, and honesty. (cough-cough)

So why did she become «April» or «May»... because of plum and pine trees?

In the localization, they added filler words (which is true), but they were a bit sparse, and they couldn't preserve its distinctive vibe – its dialect, so to speak. I'll show you everything now.

なんかぁ、映画みたいねぇ!

It’s like, just like a movie, isn’t it!

なんかぁ (nankaa): a drawn-out «somehow» or «sort of». This is a filler word often used to sound more...cute.

梅世、ちょっぴりコーフンぎみ? みたいな。

Is Umeyo getting a teeny bit excited? Or something like that.

みたいな (mitai na) – «like that», «sort of». A slang word that leaves the end of a sentence hanging, as if there's no clear understanding of whether the speaker is affirming or denying something.

ひ、ヒトの部屋をカッテにいじるなんて、梅世、信じらんなぁい!

Messing around in someone's room without asking, Umeyo just can't believe it!

信じらんなぁい (shinjirannaai) – a highly distorted shinjirarenai (I can't believe it). It's so affectatory. And you can already imagine her stamping her foot, clenching her fists, and pouting – that's how «upset» she is!

えー。いやぁん、そんなカタ苦しい聞きかた。もっと、なかよくやりましょうよぅ……。

Eh. Nooo, such a stiff way of asking. Let's get along a bit better...

いやぁん (iyaan) – «Oh, no», often used to feign embarrassment. And again, terribly affected. (You can hear it in your head already, right? Say yes...)

梅世、センサクされるの、 好きくない? みたいな。

Umeyo doesn't like being pried into? Something like that.

好きくない (sukikunai) – grammatically incorrect, «childish» form of negation (instead of suki janai). And again みたいな (mitai na).

………以上。梅世が見たのは、 そ・れ・だ・け。

That's all. What Umeyo saw was TH-AT-IS-IT.

そ・れ・だ・け (So-re-da-ke) - emphasizing the word «only this» syllable by syllable for added drama (and also using your index finger, like a pendulum, back and forth).

それに、ちっちゃかったんだもぉん!

Besides, they were so small!

~だもぉん (da moon) – childish, petulant ending to a sentence used to justify something.

すみませぇん。梅世、反省★

Sooorry. Umeyo reflects on her mistakes★

She's such a flirt, there are no words. She's certainly reflective!

ちょっぴり、マジ切れ? しちゃったみ・た・い････★

Looks like I... got a little bit... actually mad? ★

マジ切れ (maji-gire) – slang expression. Maji (seriously) + kireru (to lose one's temper) = to get seriously angry. (The key word here is «a little» remember?).

AND AGAIN みたいな (mitai na), but she lost な (na).

Well, I think you get the idea. Of course, it's easier to get a full picture of her if you watch the original, but I'll still say it: she's literally «burikko» (ぶりっ子). It is a Japanese term for girls or women who act coy, or deliberately cute and/or innocent in a put-on way.

In short, she's a «pick me».

She constantly drawls her vowels, refers to herself by her first name (in the third person), which, as mentioned, betrays a childishly cute demeanor, uses a lot of slang and exclamatory words, and overreacts to EVERYTHING that happens.

みたいな (~mitai na) at the end of almost every sentence. The English equivalent would be «like...». Her speech flows, and the speaker seems completely unaffected by what she says. She's all «hee-hee-ha-ha, I'm such a silly girl». (By the way, don't confuse or compare «burikko» and «gyaru» - they're completely different, there's a huge gap between them. The fact that she «loses her temper a little» afterwards is simply her bitchy personality, not a subculture).

There are tons of videos online of girls demonstrating how Burikko speak, so I don't think I need to tell you where to look. My advice is simply to watch a few examples to experience the full charm of this character. And yet, there is an anime series based on GKS (although it's a completely poor adaptation; they didn't try at all. The hotel scene is cut and twisted to make Naruhodō look stupid or something. That's why we only meet Umeyo for the first time in the courtroom. And she only says a couple of sentences there...). If anyone's interested, look for the original with subtitles in episode 3 of season 1, that's my advice.

She has a lot more interesting things to offer in her «true form», but that's a separate post.

Now let's move on to the second beauty - Hanaka Nodoka (葉中 のどか) or Hanaka Mimi (葉中 未実)

Their names are quite... specific and refer to otolaryngology or head anatomy. «hana ka nodo ka» (鼻か喉か) meaning «nose or throat», «hana ka mimi» (鼻か耳) meaning «nose or ears». If you have any ideas about whether this is related to anything, I'd be happy to hear from you.

But now about her manner of speech – there's nothing special about it. She always speaks in standard, polite language (when in character, of course. But even when revealing her true character, the most you'll hear from her are rude endings expressing prohibition or demand).

Her tone is rather tired and grumpy, conveyed through the elongated vowels at the ends of words. And she also likes to make others feel guilty.

ああ、そういうことですかあ。ちゃんと言っていただかないとお。

Oh, so that's how it is. You really should have told meee.

いただかないとお (~itadakanai too) – an extended subjunctive mood. She shifts the blame for not understanding the question onto her interlocutor (Naruhodo).

よく知りませえん。

I wouldn't knooow.

The drawn-out denial ませえん(~maseen) makes the answer sound somewhat dismissive, as if she was already tired of talking.

いいえぇ。いいんですけどお････。

Nooo. It’s fine, buuut...

The sentence ends with けどお (kedoo) – a typical Japanese way of expressing hidden displeasure.

And a bit of her haughty nature with rude expressions.

ナニよ! イイ年して、アンタがキチンとしろっての!

What! At your age, YOU should be the one acting properly!

イイ年して (ii toshi shite) – «already an adult» (a reproach for immaturity).  

しろっての (shiro tte no) - a rude demand.

今、考えてるでしょ! 話しかけないで!

I'm thinking right now! Don't talk to me!

A rude prohibition ないで  (~naide). Why rude? Because she's in court and speaking to a lawyer who has a higher status than her (she also responds to the judge in the same way). The polite form is 〜ないでください (naide kudasai) – «please don't do that».

In short, she was quite rude to both Naruhodō and the Judge, but she managed to do it in standard Japanese, without using slang, cutesy abbreviations, or outright rude words (she's just playing with the politeness levels of language). I didn't encounter any filler words in her voice lines, even though she plays dumb and doesn't understand what's going on, but she does so with completely different intentions than Umeyo. So, if the word «like» or something appears in the localization somewhere as an introductory word, rather than as a comparison, it's simply the localizers' choice.

Just accept the fact that Nodoka/Mimi and Shochiku Umeyo are two different character types, they use different levels of language, and their behavior patterns are fundamentally different (I'm talking about the goals they pursue).

That's it, I hope you found it interesting! Feel free to ask questions; I'll try to answer them as thoroughly as possible (I still need to work on the speed, shame on me).

[croquis-el]

HAPPY NEW YEAR TO EVERYONE! MAY ALL THE BAD THINGS FINALLY END!!!!

[croquis-el]

Gunka songs as characterization of characters in Gyakuten Saiban

Hello, my dears! I wish everyone celebrating and everyone involved a Happy New Year! I have less than two hours left until midnight, so I'm literally jumping on the bandwagon to share one more post with you, my last one of the year. Under one of the posts, user crexcrex-in-the-grass mentioned gunka songs that can be heard in the background music of Gyakuten Saiban, so I'm answering that question and sharing a little more about the history of gunka and how it has found its place in modern music.

Gunka (軍歌 Gunka, literally "war song") is a term for European-style military music created in the Japanese Empire from the Meiji Restoration (1868) to the end of World War II (1945). In Japan itself, the word "gunka" refers to military music and war songs of all countries.

In short, until the Meiji period (1868–1912), Japan had no "centralized policy" for military music. Therefore, soldiers sang folk songs that weren't stylized as the familiar "march," and the songs promoted by the government were originally written for schools, as a model for "European musical education." The first military march of the European type is considered to be the song "Battōtai" (抜刀隊), written during the samurai rebellion by Saigō Takamori (1877).

Instruments of Western musical tradition are common in Gunka songs, such as trumpet, trombone, tuba, timpani, cymbals, glockenspiel, snare, and woodwind instruments as clarinet, flute and piccolo.

Due to its origin in military marches, gunka has a metre in four-four time.

Now that we've finished our brief overview, let's move on to our beloved characters. First up, we'll touch on Detective Itonoko and his improvisation in the final case (3-5) of the third part of the trilogy.

(････風に乗って、どこからか陽気な鼻歌が聞こえてくる)

(....Borne on the wind, a cheerful humming can be heard from somewhere.)

･･･波のオオォ････間に間にィイイ 証ォ拠がァ････ハネりゃあああ････

...Across the o-o-o-ocean wa-a-a-aves... When the evi-i-i-idence... le-e-e-eaps...

オレのオオオォ････ココロもオオオ ハネるゥのさあああ...

My hea-a-a-art... also-o-o-o... Leaps with joy-y-y-y...

いやー、捜査は楽しいッス。

Man, investigation is a blast.

ロクな手がかりが見つからないけど ････そんなの、カンケイないッス!

I can't find a single decent clue... but that doesn't matter at all!

自分は、そんなもののために

捜査をしてるワケじゃないッス!

I don't do this just for the sake of finding things!

捜査が好きだから。オマエが

好きだから! 捜査をするッス!

I do it because I love investigating. Because I love you [the investigation]! That's why I do it!

･････夢のオオォ････間に間にィイイ

証ォ拠がァ････オドりゃあああ････

...Amidst the o-o-o-ocean drea-a-a-ams... When the evi-i-i-idence... da-a-a-ances...

(････セリフにつづいて 2番が始まったみたいだ)     

(...Following that monologue, it seems the second verse has begun.)

Here, Itonoko literally creates his own investigation song, parodying traditional gunka.

The extended vowels (like "o-o-o-o") represent a singing technique called kobushi. It’s a soulful, vibrating style used in old patriotic songs to evoke deep emotion and "fighting spirit."

He uses romantic, grand metaphors involving the "ocean waves" and "dreams," but replaces the usual subjects (like home or victory) with mundane police work - specifically "evidence".

When he says "Because I love you!", he is referring to the investigation itself. In a real military song, this would be a pledge to his country or a brother-in-arms.

This moment cements detective as a "pure" character. Despite his low salary and constant failures, he finds genuine, almost spiritual joy in his job.

Despite being a detective in modern Japan, he seems to be a satire of a seasoned soldier whose life is full of hardships and trials (and let's also remember that he always uses the personal pronoun jibun (自), which refers us to soldiers).

And again, let's return for a moment to the old man from the Recipe of Turnabout, whose musical theme is literally based on the motive of gunka.

The Japanese title of his character theme: 五十嵐将兵　～せつなき哉、軍歌のしらべよ (Igarashi Shohei ~ Setsunaki kana, gunka no shirabe yo)

If you translate it, it would be something like "Shohei Igarashi ~ How Sorrowful, the Melody of a Military Song"

But in localizing the name, they again lost the poetry that was put into the original name: "Victor Kudo - Martial Anthem of Misery". (you may also seen it as Victor Kudo ~ A Painful Declaration and War Song).

The word 哉 (kana) is an exclamation particle from classical Japanese that is rarely used in colloquial speech today. It gives the name an air of epicness and antiquity.

せつなき (setsunaki) - sad, painful, melancholy. We expect to hear something sad. In reality, we hear an incredibly aggressive, upbeat, and even "prickly" march. To him, this music may seem sublime and sad (reminiscent of former glory), but to everyone around him (and the player), it's the noisy and irritating march of a grumpy old man.

Even the melody itself is literally filled with staccato, which also reflects his harsh speech, bold and prickly character.

The melody is based on the trumpet, which is intended to create a fighting spirit and is an instrument capable of showing "power and a commanding tone."

The constant background of the drum creates the feeling that it is always “at war” with the whole world. In addition, you can hear the piccolo flute and trombone (which sets the rhythm "one-two-three-four")

I'll attach his theme song so you can listen to it too.

Visit Original Link

To sum it up, composer Noriyuki Iwadare did a great job of emphasizing the characters' personalities through their musical themes (Igarashi), and Itonoko maintains his image as a brave soldier by constantly reinforcing it with various attributes (pronouns, songs).

______________________________________________________________

Once again, I wish you a Happy New Year, wishing you nothing but happiness, and may the coming 2026 be at least as good as the outgoing 2025. See you next year! Love you!

[croquis-el]

Authentic Japan in Gyakuten Saiban pt.6

Hello again! Yes, it's been a challenging week, but we made it through, we survived, and I'm bringing you a continuation of the traditional Japanese cultural references presented by Gyakuten Saiban. Sorry for the old man again, but some equally wonderful ladies will be contributing to this installment. We'll be adding another equally interesting topic later.

いいか、若いの。この不景気で紋つきが売れると思うかッ!

Listen up, young’un. Do you really think traditional crested formal wear will sell in this recession?!

もんつき･････?

Mon-tsuki...?

ワシは職人なのだ! 和服に、家紋を描いておる。

紋章上絵師という、下町ジョウチョあふれる家業をいとなんでおる!

I am a craftsman! I draw kamon (family crests) onto wafuku (traditional japanese clothes). I run a trade full of downtown charm, called a monshō-uwaeshi (crest painter)!

Let's take things in order. The first thing you'll notice is how the old man addresses Naruhodō.

He uses the formal address 若い [wakai], which is usually translated as «young». It seems odd to use this form of address, which suggests age. However, coupled with the dismissive tone present in this sentence, it could be adapted to mean «youngster», «small fry», and other synonyms. «Kid» is too soft here, so a word expressing outright contempt is called for.

Next, that was mentioned, the folk art of 紋つき [montsuki] - applying family crests (mon) to clothing. There's no single method for applying a family crest to clothing - it's done both by embroidering the fabric and by rubbing paint into the fabric (using a stencil).

The word used here is つき [tsuki], which comes from 付く [tsuku], meaning: to be attached; to be connected with; to adhere; to stick; to cling. (although it's pronounced very similarly to «moon»).

Why is Naruhodō asking him about montsuki? Doesn't he know about this folk art?

No, that's not the point. This is a reference to the «Lost Decade» (失われた10年) - a period of long-term economic stagnation in Japan that began after the collapse of the Japanese financial bubble in the early 1990s. Since the game (specifically this part) was released in 2003, the events in it were intertwined with events in modern Japan.

The term originally included the period from 1991 to 2000, but then the period from 2001 to 2010 was added and became known as the «Lost Twenty Years» (失われた20年), and later also the period from 2011 to 2021, so the entire period from the 1990s to the 2020s is called the «Lost Thirty Years». (No matter how you look at it, any release is This protracted crisis encompasses everything from 2003 to 2019.

Montsuki sales are an indicator of prosperity and demand for expensive, unnecessary luxury/traditional items. A decline in demand for them is a sure sign of a deep crisis.

We remember that the old man shouts this phrase casually, breaking the flow of his testimony. He uses montsuki as a rhetorical symbol for an expensive, excessive commodity that will never sell, and therefore he, the heir to a great craft, has to work in a bisto. There's a sense of humiliation here. Naruhodō simply doesn't immediately grasp this train of thought, which is why he asks again. (He literally says, «HOW IS THIS CONNECTED?»)

Of course, for the sake of localization, the context of the dialogue was changed to make it irrelevant to Western audiences, so as not to touch on such a sensitive topic.

kamon (家紋) - family crest.

It's a synonym for mon (as part of monstuki), also monshō, mondokoro – and all of these mean emblems, family crest.

For each surname (each family), there may be several variations of the crest, each preserving a central element. For example, for the 佐藤 (Sato) family, there are over 90 variations of the crest (and crests may be repeated in different families). You can view the different crests here (there is a filter by surname, by element, by era, etc.).

We already talked about wafuku (和服) in the previous section, so I won't repeat myself.

紋章 上絵師 (monshō-uwaeshi) – where uwaeshi is a craftsman who paints on dyed fabric, and monshō is a synonym for «crest».

These are the tools used for this craft:

You can find more information about the art of crest painting here or, for example, here. There's plenty of information and interviews with artisans online.

Another interesting observation: the old man uses the personal pronounce 儂 [washi] - a formal/informal pronoun for males (mainly). Often used in fictional settings to stereotypically represent characters of the elderly.

Next, we'll move away from the artisans and come back to our lawyers. When Naruhodō asks the old man again if he's sure the victim flipped the newspaper with his right hand, he receives the following answer:

さっき言ったろうが。右手で新聞をめくってた、と!

I just told you, didn't I? He was turning the newspaper pages with his right hand!

右じゃなかったら、 どっちだコラッ!

If it wasn't the right hand, then which one was it, huh?!

おそらく、アンタには3本目のウデがあるんだろうぜ････

You probably have a third arm, don't you....

右 [migi] - right

手 [te] - a standard, general, neutral word for the hand or the entire arm up to the shoulder, often used to state a fact.

3本目のウデ [san-bon-me no ude] - third arm

Godot uses the word 腕 [ude] - the arm from the shoulder to the hand.

三本 [san-bon] - three (a counting suffix for long objects).

目 [me] - an order suffix (third).

With this joke, Godot reinforces his confidence and supports the witness, while also making Naruhodō's doubts look ridiculous. ウデ [ude] - with the anatomical meaning of limb, strength - for the third arm makes the joke more grotesque and exaggerated. And even though the lawyer isn't directly addressed by name (as in the localization), it still makes it clear that the prosecutor and the witness have united against their opponent.

We leave the courtroom for the pretrial detention center, where the fee for creating the computer virus the victim was counting on is being discussed.

じゃあ、1000万円というのは ヤッパリ････契約金ッスかねえ。

Well then, that 10 million yen must be... a contract fee, huh?

1000万円もらえるんなら、 あたしだって歌っちゃうよ!

If I could get 10 million yen, even I would sing!

《倉院音頭》とか《霊媒おけさ》 とか《マヨイ節》とか!

Like the «Kurain Ondo», the «Reibai Okesa», or the «Mayoi-bushi»!

So what are the ondo, okesa, and bushi that Mayoi is talking about? They are all genres of traditional Japanese music.

音頭 [ondo] is a type of Japanese folk music genre, distinctive swing 2/2 rhythm, traditionally used for traditional Obon dances. Ondo can be performed live during festivals, where a lead singer performs on a platform (hayashi) with dancers forming a circle around them. Commercial recordings are often played through loudspeakers alongside the live performance.

Traditional instruments: the shamisen, flute, and bell. Taiko drums are also a key component.

Famous examples: Tokyo Ondo, Kawachi Ondo, and Akita Ondo. 

霊媒おけさ [Reibai Okesa]: Reibai (Channeling/Spiritual Medium) + Okesa, a type of Japanese folk song (min'yō).

«Okesa» or «Okesabushi» is a style of the Japanese folk songs that is said to have originated in Amakusa City, Kumamoto Prefecture. They typically describe the dialog between a man and a woman in love, and were sung there when the seamen drank sake together. You can read about it here.

The most famous okesa song - 佐渡おけさ [Sado Okesa] - originated in Sado Island, Niigata Prefecture. It is now also a favorite Obon festival dance music for the people in Niigata Prefecture and its neighboring prefectures.

The straw hat used in traditional Japanese folk dances such as Sado Okesa or Awa Odori is generally called a 笠 [kasa]

However, the type of hat characteristic of Okesa dances is often referred to by a more specific name: Okesa-gasa. It is a variation of the 編み笠 [amigasa], which literally means «woven/straw hat».

マヨイ節 [Mayoi-bushi]: the name Mayoi + 節 [bushi] - another type of Japanese folk music. These are songs with a more structured melody and lyrics. They are often related to work (fishing, farming) or historical events.

For example:

Sōran Bushi (fisherman's song) originates from Hokkaido. It is a song sung by fishermen during the hard work of hauling in their nets.

Kokiriko Bushi (Kokiriko Song) comes from the Toyama region. It is the oldest folk song in Japan, derived from the rice-field dance performed during farming. The kokiriko instrument is used in the song.

The kokiriko, or binzasara, is a traditional Japanese percussion instrument. Originating in Japan during the Edo period (1603-1868). The instrument features small wooden pieces held together by fabric or cotton cord, with handles on both sides for easy play (you can see it in the picture)

By the way, 10 million yen was roughly $85,000 (the exchange rate was about 115 yen to the dollar in 2003) and $91,000 (an average of 110 yen to the dollar in 2019).

I hope you enjoyed this long analysis! I hope I can do another one before Christmas/New Year's to give you a present. There's only one Christmas-related case in Ace Attorney, but it doesn't seem to have much in the way of holiday paraphernalia. Perhaps you'd like to see someone special? Narumitsu?

[croquis-el]

I'm back!

Hello again! Thank you for waiting for me for so long. I'm happy to announce that the internet is back (on December 1st, to my great joy). Your words of encouragement have really cheered me up, and I'm grateful to have you! I've prepared a long post for you, which I'm currently editing, so it will be up on the blog in about an hour or two. Hooray!

[croquis-el]

Hello everyone!

Please don't be afraid, this post isn't about bad things. I'm not abandoning the blog or anything like that.

Unfortunately, due to bad weather and construction work nearby, the internet cable was damaged, so everyone in the area, including my house, is left without a stable internet connection – the Wi-Fi is down. And there's little hope for a mobile connection either; it's working very poorly.

Due to additional studies, I owe you many posts and analyses, and then this unexpected misfortune struck. They've allocated about 10 days for repairs (until the 4th), but I hope everything will be resolved much sooner.

Thank you for staying with me, I'm incredibly grateful.

P.S.

During this time, I'll try to sort through all the notes I have and find the right moments when I play through the games again (Investigations in Japanese Let's Go). Love you💙❤️