Hisone to Masotan – 07

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Even if your path has been decided, that doesn’t mean it won’t lead to happiness

Rabu. So there’s this very, very strange reference this episode to “Sotoori”. It seems that many Japanese were a bit puzzled by it as well, but one person gave some hints about what it means. First, it seems to be a similar naming to Operation Yashiori from Shin Godzilla (which I have not seen, unfortunately). Second, it may be a reference to Sotoori-hime (衣通姫), who you can read more about here. One way or another, my guide seems to think that Akishima may have been aware of the true plan from the very start. Was she? You can decide for yourself.

Torrent | Magnet

PS: I meant billion, not trillion. Still a lot of Yukichis.

10 thoughts on “Hisone to Masotan – 07

  1. Borft

    It would be better you delay every release a month than go one more moment without watching the greatest of all giant lizard movies.

  2. Binder

    There’s a typo @21:26 “Memebrs” -> Members

    If you ever make a patch for a batch, please fix it.

    Also; thanks for your work and these little notes. This show is great.

  3. brownricecookies

    Thanks for the hard work! Just wanted to point out a few lines at 14:55:

    Do you think we’re in a cabaret?
    What? Was I acting like a lecherous old man?
    Oh no. I really regret it.
    So you’re a regular, Hitomin.

    The original goes (excuse my shitty speed-translations):

    キャバクラでしたね 完全に
    >You wouldn’t have looked out of place at a cabaret club just now
    え~っ 私セクハラするおじさんみたいだった?
    >What? Was I acting like a lecherous old man?
    どうしよう… 反省
    >Oh no. I really regret it.
    >So you’re the customer (and not the girl), huh.

    The joke makes more sense as Lilikos implying that Hitomin is acting like a cabaret girl, and Hitomin misunderstanding that and thinking that she’s acting like a perverted customer.

    Also a nitpick at 15:49:

    The zombies’ death cries made for a pretty nice BGM, and it got me thinking…

    The original goes:

    ゾンビの断末魔がいいBGMになって ちょっと考えごとを…

    As I’m sure you’ll agree, the way “BGM” is used here is mainly as “background noise to induce thought”, and it is “good BGM” in the sense that it induces thought well. But phrasing it as “death cries made for a pretty nice BGM” makes it sound like the death cries themselves sound good, and while Hisone is certainly weird enough to think that, it detracts from the point Hisone is making. But this is nitpicking.

    1. tsuru

      Hello, thanks for your comments.

      First, about the BGM thing: yeah, it’s minor. I agree with your interpretation, and I won’t claim to really have spent too much time on that line, but mostly the issue is what else we would have put down. ‘Effective’? ‘Thought-provoking’? It’s a bit unnatural, and ‘nice’ ends up being a pretty good-enough option, especially since it was just いい (and thus susceptible to the same interpretation issues) in the Japanese.

      The cabaret line did seem off to me when I worked on it, and if this is wrong then it’s my error (the unedited line was ‘And now you’re acting like a customer, Hitomin.’). The comment I’ve got on it is ‘{## as opposed to the dancer earlier? it was always customer}’, so I understood it to be Hitomin -always- being the customer and never being the club employee, mostly because it seemed to me like the customer would be more likely to harass than the cabaret dancer (that the sexes here were flipped aside). Then of course saying ‘and now … customer’ doesn’t make sense under that interpretation, so I flipped that to ‘regular’ on the basis of Hitomi’s weird 反省 thing.

      In effect I read the twist not as dancer to customer, but as customer to regular, ascribing importance to Hitomi’s action, which seemed too odd to me. It gives (me, anyway) the impression that it’s something she’s done before (so like, she’s this lecherous old man who hits the cabaret on the reg), because it’s kind of at once overblown and not too sincere and kind of rehearsed. That view of things is also supported a bit by Onaga being the uncomfortable one (presumably if you were the cabaret-goer you wouldn’t be uncomfortable?), though I can’t say that it isn’t at least a bit of a stretch from just 客.

      Further, under the assumption that it was dancer to customer, Ririko’s response is a little odd (though really, it’s odd under all circumstances). You’d expect something like ‘いいえ、客じゃない’ or something if she noticed Hitomi misunderstanding her, but instead Ririko shifts -her own- understanding of the matter? Of course, it could also be read the same way as ‘知るか?!’ or ‘小学生か?!’, those typical exclamations (meaning ‘as if!’), but it’s not delivered with the same tone (nor is it obviously false, which is probably a requirement). Reading it as a more minor semantic shift (from one type of customer to another, not flipping the roles entirely) makes Ririko’s apparent slight uncertainty more plausible.

      That certainly isn’t enough evidence to claim mine over yours (and indeed I’m uncertain, and think there’s a fair chance I’m wrong), but that was/is my thought process.

      Thanks for your opinion, though, and please do let me know about anything else. I’m always interested in comments and criticism. If you’d really like to have a chat, hit me up on IRC or Discord, and if you’re just wondering about the reasoning, sometimes you’ll find a comment about it in the script file (mkvextract it from the .mkv).

      1. brownricecookies

        Wow, I did not expect such a long reply. I respect you guys for being so open to and willing to respond to comments. I’m not very good with IRC and don’t have Discord, but I’d like to add one more thing if I may. The script is very playful with the register of language that it uses – Hisone snaps from normal タメ口 to super honorific when she’s feeling awkward, and the script occasionally throws in old language, notably with Iiboshi, but also in little moments like Hisone calling Iiboshi a やんごとなき person. I’m not a Japanese native and can’t profess to understanding the script completely, but I feel that this is all intended to be funny. For the sake of the people who still don’t know about this great show, please make the English translation as playful and funny as you can. Keep up the good work!

        1. tsuru

          Tone and manner of speech (a lot of people will call this ‘characterization’) is often difficult (for me, anyway) because it can be difficult to a) tell whether it’s -actually weird- in the Japanese as a non-native; b) decide what an analogous English manner would be; and c) keep that consistent.

          We’re certainly aware that Hisone speaks -weird-, and efforts are made to ensure that her English is similarly kind of weird sometimes, but it’s not a simple tic that we can point to and say ‘we translate this as [this] every time it shows up’. Similarly, we do try to make Nao’s speech rough, corresponding to her ええ corruptions (this being a bit more obvious and straightforward). Angry Sada likewise, though that from a lot of very direct imperatives and the like (and so, stronger language (including cusses) in English, but perhaps not -slang- as Nao slings). I’m not certain it’s really meant to be -funny-, though it’s clearly meant to be -noticeable-, and probably entertaining, and we’re doing our best to keep that.

          I’m no expert (and it’s not actually my job in this setup), but we’re on it, kind of. Thanks for your comments!


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