Baka-Tsuki - User contributions [en]

Category:ClannadCleanup

2008-05-10T02:31:43Z

Dgreater1: /* Files to be reviewed */

The following pages have been marked for cleanup. See [[Template:Clannad:Cleanup]] for more information.

== Files To be TL Checked ==
'''Translators, please pass over the list of files here and mark when it's done. Thanks.
*[[Clannad:SEEN6801]]
*[[Clannad:SEEN6802]]
*[[Clannad:SEEN6803]]

== Files to be reviewed ==
Editors, please enter here any SEEN files that you feel you would like to change tense for, but have no idea if it will affect Japanese meaning. A Translator will look over your change and approve it if it is deemed acceptable. Format is the following:

<pre>
*[[Clannad:SEENxxxx]]
**Line ####, <insert note here> --~~~~
*[[Clannad:SEENxxxx]]
**Line ####, <insert note here> --~~~~
*[[Clannad:SEENxxxx]]
**Line ####, <insert note here> --~~~~
</pre>

*[[Clannad:SEEN2419]]
**Line 0000, <Sunohara appeared after first period ended, so the tense should reflect this.> --[[User:A|A]] 17:42, 8 March 2008 (PST)
*[[Clannad:SEEN2421]]
**Line 0038, <This line should be the same tense as line 39.> --[[User:A|A]] 15:34, 8 March 2008 (PST)
**Line 0069, <There's and was should be the same tense> --[[User:A|A]] 15:34, 8 March 2008 (PST)
**Line 0105, <"They made a bitter smile" sounds weird - maybe "They smiled bitterly"? Also, who are they bidding farewell?> --[[User:A|A]] 15:34, 8 March 2008 (PST)
**Line 0174, <showed, pretend, and doesn't should be the same tense> --[[User:A|A]] 15:34, 8 March 2008 (PST)
**Line 0229, <called and we're should be the same tense> --[[User:A|A]] 15:34, 8 March 2008 (PST)
**Line 0385, <tumbles and started should be the same tense> --[[User:A|A]] 15:34, 8 March 2008 (PST)
**Line 0395, <arrive and rang should be the same tense> --[[User:A|A]] 15:34, 8 March 2008 (PST)
*[[Clannad:SEEN2426]]
**Line 0031, <Check that revision is correct> --[[User:A|A]] 23:09, 7 March 2008 (PST)
**Line 0033, <Check that revision is correct> --[[User:A|A]] 23:09, 7 March 2008 (PST)
*[[Clannad:SEEN3416]]
**Line 0081, <talked should be the same tense as walk> --[[User:A|A]] 13:04, 8 March 2008 (PST)
*[[Clannad:SEEN3424]]
**Line 0010, <Although the sentence is grammatically correct, I recommend changing it to "She stares at me with her hands on her hips."> --[[User:A|A]] 23:04, 9 March 2008 (PDT)
**Line 0191, <left and move should be the same tense> --[[User:A|A]] 23:04, 9 March 2008 (PDT)
**Line 0401, <says and showed should be the same tense> --[[User:A|A]] 23:04, 9 March 2008 (PDT)
*[[Clannad:SEEN4423]] === *Checked*
**Line 0112, I can't quite put my finger on why, but this sentence needs to be reworded. --[[User:A|A]] 17:42, 8 March 2008 (PST)
*[[Clannad:SEEN6421]]
**Line 0168, <First part of the sentence should happen before or at the same time as the second.> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0181, <Both verbs should be the same tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0423, <Both verbs should be the same tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6422]]
**Line 0403, <Fuuko should use third person, right? This also applies to lines 405-408.> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0558, <Check that revision is still correct(See history for details)> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0763, <Have should be had so that it matches the tense of the rest of the clause> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0816, <Sentence should be one tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6423]]
**Line 0325, <Both verbs should be the same tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6425]]
**Line 0296, <Should this be "Just let him go"?> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6426]]
**Line 0268, <Check that revision is correct(See history for details)> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0470, <"Stepped out" sounds awkward> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6427]]
**Line 0086, <Needs clarification> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
**Line 0199, <Should this be "that big of an accomplishment"?> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
**Line 0400, <Needs clarification (What does 'a notes' mean?)> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
**Line 0434, <Needs clarification (What does 'please tuck in' mean?)> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
**Line 0462, <Needs clarification> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
**Line 0465, <pressed, reads, and packs should be the same tense> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
**Line 0499, <See line 400> --[[User:A|A]]
**Line 0540, <See line 434> --[[User:A|A]] 00:09, 11 March 2008 (PDT)
*[[Clannad:SEEN6726]]
**Line 0116, <Check that revision is correct ("for that" seems redundant)> --[[User:A|A]] 19:18, 5 March 2008 (PST)
*[[Clannad:SEEN6727]]
**Line 0118, <what is plotters supposed to mean?> --[[User:A|A]] 19:18, 5 March 2008 (PST)
*[[Clannad:SEEN6729]]
**Line 0268, <Should this be "Furukawa Bakery's land mine"?> --[[User:A|A]] 19:18, 5 March 2008 (PST)

You may return to the main page [[Clannad|here]].

Category:ClannadCleanup

2008-03-08T15:01:13Z

Dgreater1: /* Files to be reviewed */

The following pages have been marked for cleanup. See [[Template:Clannad:Cleanup]] for more information.

== Files To be TL Checked ==
'''Translators, please pass over the list of files here and mark when it's done. Thanks.
*[[Clannad:SEEN6801]]
*[[Clannad:SEEN6802]]
*[[Clannad:SEEN6803]]

== Files to be reviewed ==
Editors, please enter here any SEEN files that you feel you would like to change tense for, but have no idea if it will affect Japanese meaning. A Translator will look over your change and approve it if it is deemed acceptable. Format is the following:

<pre>
*[[Clannad:SEENxxxx]]
**Line ####, <insert note here> --~~~~
*[[Clannad:SEENxxxx]]
**Line ####, <insert note here> --~~~~
*[[Clannad:SEENxxxx]]
**Line ####, <insert note here> --~~~~
</pre>

*[[Clannad:SEEN2426]]
**Line 0031, <Check that revision is correct> --[[User:A|A]] 23:09, 7 March 2008 (PST)
**Line 0033, <Check that revision is correct> --[[User:A|A]] 23:09, 7 March 2008 (PST)
*[[Clannad:SEEN4512]] - Done checking, waiting for confirmation
**Line 0005, <touch and confirmed should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0010, <try and noticed should be the same tense(placed and raised can stay the same)> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0018, <Clarification needed- what does 'fetched up' mean?> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0031, <work and was should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0033, <Clarification needed> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0058, <change and oiled should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0087, <Both translations have tense problems, but choose one first.> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0101, <flip and began should have the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0122, <Check that revision is correct (see history for details)> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0125, <Clarification needed> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0137, <Both translations have verb problems, but choose one first.> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0149, <Check that revision is correct> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0171, <Check that revision is correct> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0192, <Check that revision is correct> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0218, <bursts and said should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0219, <didn't and what's should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0258, <lisp is not an adjective.> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0263, <said and glows should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0284, <Should that be dust, or is it some weird phrase I don't know of?> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0318, <Is this some weird phrase I don't know of?> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0322, <This could go two ways- either put single quotes around the 'I have to...' part of the sentence or change have to had> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0323, <See 0322> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0328, <have and was should be the same tense> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0343, <Check that revision is correct> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0364, <Needs to be rephrased> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0382, <Check that revision is correct> --[[User:A|A]] 00:33, 8 March 2008 (PST)
**Line 0594, <Check that revision is correct> --[[User:A|A]] 00:33, 8 March 2008 (PST)
*[[Clannad:SEEN6421]]
**Line 0168, <First part of the sentence should happen before or at the same time as the second.> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0181, <Both verbs should be the same tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0423, <Both verbs should be the same tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6422]]
**Line 0403, <Fuuko should use third person, right? This also applies to lines 405-408.> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0558, <Check that revision is still correct(See history for details)> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0763, <Have should be had so that it matches the tense of the rest of the clause> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0816, <Sentence should be one tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6423]]
**Line 0325, <Both verbs should be the same tense> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6425]]
**Line 0296, <Should this be "Just let him go"?> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6426]]
**Line 0268, <Check that revision is correct(See history for details)> --[[User:A|A]] 17:19, 7 March 2008 (PST)
**Line 0470, <"Stepped out" sounds awkward> --[[User:A|A]] 17:19, 7 March 2008 (PST)
*[[Clannad:SEEN6726]]
**Line 0116, <Check that revision is correct ("for that" seems redundant)> --[[User:A|A]] 19:18, 5 March 2008 (PST)
*[[Clannad:SEEN6727]]
**Line 0118, <what is plotters supposed to mean?> --[[User:A|A]] 19:18, 5 March 2008 (PST)
*[[Clannad:SEEN6729]]
**Line 0268, <Should this be "Furukawa Bakery's land mine"?> --[[User:A|A]] 19:18, 5 March 2008 (PST)

You may return to the main page [[Clannad|here]].

User talk:K

2008-02-17T01:21:37Z

Dgreater1: /* IRC */

== Aim/Etc ==

I do have have aim.... pretty easy to find there... although I am rarely on unless I know I need to be.

== IRC ==

I can see that you're quite fluent with Japanese. I'm guessing you're a native or someone who lived (lives) there. Anyway, welcome to the boat full of dango :3

I suggest #baka-tsuki at rizon.net

-DGreater1

User talk:K

2008-02-17T01:20:30Z

Dgreater1: Welcome

User talk:Amoirsp

2007-11-30T12:42:08Z

Dgreater1: /* response to comment left on my discussion page */ BAHHHHHHHH! I just got home and I'm so happy to find out that my harddisk crashed again!!!!

== Spacing and Name Changes ==

Hello Amoirsp,

Although changing the spacing is appreciated for the "//" lines, it is not necessary. Please review the [[Clannad:Guidelines|guidelines]] as well as [http://dev.haeleth.net/rldev/manual.html Haeleth's manual] on comments. As long as comments are:

<tt>this is not ignored // sajfiophwaopeifhiopwhfeiopa this is ignored until end of line</tt>

<tt>this is not ignored {-- ahsfopihewaoipfhaiopwhfiopwhe this is ignored --} this is not ignored</tt>

Also, please review the [[Clannad:Guidelines|guidelines]] carefully on naming. I notice you used "Young man" when it should be "Young Man".

--[[User:Velocity7|velocity7]], 9:24 AM EST March 14 2007

== Buhi vs. Puhi ==

Turns out to be puhi, my eyes have been deceiving me all this time because in MS PGothics, ぷ and ぶ look alike. :(

--[[User:Velocity7|velocity7]]

== Tomoyo's Route ==

Just FYI, I plan to be tackling that route as soon as I'm done with Kyou's, so hold out for a while. ;)

--[[User:Velocity7|velocity7]]

== IRC! ==

irc.rizon.net @ #baka-tsuki

:That's actually the reverse, unless the world revolves around #b-t? -- [[User:RasqualTwilight|Seven Eleven]] 06:27, 14 April 2007 (PDT)
== About the language reversal ==

We need to talk about how we will approach this. Well, let me start... I'm just wondering about how we'll deal with this things. Yup, translation is interpretation but sometimes, the interpretation is vague if followed too perfectly, for example...
<br>
:Taken from SEEN4420<br>
:<0256> \{Kotomi} "Which do you like? English or French?"<br>
:<0257> \{\m{B}} "Don't decide what other people would want to read by your criteria."<br>
:<0258> \{Kotomi} "??"<br>
:<0259> \{\m{B}} "Please give me one of those Japanese ones."<br>
Some people might wonder, they're English speaking people but why is he asking for a Japanese book? Or maybe it just doesn't look right to me for having got used to multiple language? ^_^; --[[User:Dgreater1|Dgreater1]] 02:35, 17 April 2007 (PDT)

:I look it as the difficulty of book, even with same language, is too much for Tomoya. So even if he request a Japanese book, he's asking for a very simple elementary one. Since he is Japanese (Speaking English is one thing, but this cannot be denied), asking for a basic simple book sounds reasonable. Also, all the books in the library were too much for him, and this was established. Also, in Clannad they have an English grammar class specifically. Kotomi also talked about that English book she was reading earlier. On THAT book she read, it has to be English, otherwise the structure makes absolutely no sense about not easy to write but easy to read. There is one funny thing though, since Japanese books are read right to left (up to down, but the page flip is right to left), and English is basically the opposite, it would be funny calculating the direction. I still say make it nearly direct, since playing this game should already give the main idea that they are indeed, Japanese (school, places, radicals, names, culture, golden week). Then again along with this language confusion is also why we use several romanji (imagine English-fying the SFX to wham and bam -_-, but that's not the issue ^^;; ) I think the problem is adjusting the ENTIRE GAME to this (so it's also easier to draft directly). If it's like one little scene then this is much easier to decide.

:: NOW I REMEMBER! Tomoya told Ryou in 4th period or something in seen4417 before ditching class (or rather, during the ditch) and he doesn't care about English Grammar, telling Ryou that he's Japanese and won't ever use English. That's what further made me think the direct language thing. ...and I guess I see nothing wrong with him speaking in English requesting a Japanese book because Tomoya is Japanese, :P --[[User:Amoirsp|Amoirsp]] 03:25, 17 April 2007
::: I see, thanks for the explanation but don't forget that there are Japanese classes too, not a regular subject compared to English though ^^;. I guess we must check back those reversed languages I made :3, I don't remember though how many of it, but I don't think there were plenty :3... There's surely in Tomoyo's route :3 about the dovenge, rozonve, etc., I'm sure I reversed the language there, and I also think I reversed something about English Grammar to Japanese lesson somewhere before. Anyway, I'll go look for it later and fix those lines, especially for Sunohara, he talks a lot of English :3 --[[User:Dgreater1|Dgreater1]] 05:52, 17 April 2007 (PDT)

::::I see your point about how strange it would be for Sunohara to speak in English, then because of this translation, have Tomoya speak in English saying "why is it in English ..." However, making these in particular Japanese equivalents would be far more messy. The excuse would be Sunohara has bad English, which regardless of which language, has it's merit. I can understand how that itself can sound really weird, but making a Japanese equivalent of errours like that would be further challenging. I think we best make some sort of note that this is a Japanese game, so it will sound like they spoke English, because they did. When Sunohara does it, it implies his English sucks, in which it can. When Kotomi uses other languages, it is understood by the characters that they don't really understand her and that it's like "why a different language we can't follow"? As far as Kotomi English goes ... they seem to be references to books. Maybe we need to distinguish translated good morning with English good morning (This would at first glance sound much better with your language reversal)? o_o On the other hand it can be argued that "hey she literally said good morning, so why is it konnichiwa" Hm maybe we should put this on hold, or use one and decide later. Some cases it sounds pretty good, but others it seems indifferent. Doing it direct will make it easier to translate. -Amoirsp
:::::Oh, then how about (All Japanese ===> English and all English ===> Japanese) but of course, there would be an exception like for example, "The Rolling Thunder and the Alice" of SEEN0415, "Are you Pretty Dog Too? It's Miracle!" of SEEN0422 (these line could also mean he bad at English so it doesn't matter), etc. etc. The dovenjo, rozonve, etc. in Tomoyo's route doesn't really need to be reversed since it can be interpreted as imperfect English, but in case of something like for example... Yukine's route, in SEEN5426 where Sunohara is using two language, I think it's better to reverse that part (Line 251 to 254)...
::::::<0251> \{Miyazawa} "It's alright. I don't have any boyfriend, after all."
::::::<0252> \{Sunohara} "Hontou ni?"
::::::<0253> Even more, Japanese came out.
::::::<0254> \{Miyazawa} "Really."
::::::<br>
::::::What this line is really trying to interpret is more different language came out of his mouth. Not exactly more Japanese came out of his mouth. So I think interpreting this line to have two language might be better than interpreting it like... <br><br><0251> \{Miyazawa} "It's alright. I don't have any boyfriend, after all."<br><0252> \{Sunohara} "Really?"<br><0253> Even more, English came out.<br><0254> \{Miyazawa} "Really."<br><br>We need to note "Hontou ni?" though...<br><br>There's also a line in Kotomi that goes... <br><0035> \{Kotomi} "\m{B}-kun, good afternoon."<br><0036> \{\m{B}} "........."<br><0037> \{Kotomi} "Good afternoon."<br><0038> \{\m{B}} "........."<br><0039> \{Kotomi} ".........Well."<br><0040> \{Kotomi} "Konnichi wa?" // This line would surely be weird if we don't reverse it.<br><0041> \{\m{B}} "That's not it."<br><0042> \{Kotomi} "??"
:::::There's also a problem about the English lesson that the students undertake, and about the line where Tomoya said "I don't need to study English since I'm a Japanese and I won't use it." in Line 0348 SEEN0417... Reversing the language setting would mean that the students are undertaking Japanese language lesson. I don't really mind reversing it since I understand the voice and also have an idea why is it reverse, but for some who doesn't really understand Japanese, they will only find the voice to be an extra spice to the emotion of that character.
:::::<br>
:::::Now I remember one of the BIGGEST reason why I'm so worked out with the language reversal. It's because there would be a problem near the end of Kotomi's route and it's about an English sentence that goes "If you find this suit case... please take it to our daughter.", the orginal line is written in English and most Japanese people wouldn't really understand it that much because they're not really fluent in English, but Ryou tried to interpret it in Japanese but her interpretation is a bit vague so Kotomi steps in and interpret it for them easily :p... The reason I want to reverse the language is because readers shouldn't really understand that part until Kotomi explains it :p and that part is one of the most emotional part of Kotomi's route. And I think direct/exact translation of this line would ruin her route. I think we should make an exception in Kotomi's route here, she can speak various language anyway so it's not really confusing. As for the other routes, it doesn't need to be reversed. Anyway, in short, I have a problem of interpreting completely what the line is really trying to tell the reader XD so it won't be confusing.<br><br>Erm... I'm not making any sense do I ^^; Anyway about Sunohara's bad English, we don't really need to reverse it, but I think we should reverse the line that implies the use of both language (English and Japanese) for PERFECT interpretation. Woah!!! I think I'm heading to the path of being a perfectionist, Somebody stop me! (ala Mask Mode) XD... Ahhh... I'll finish Kotomi first before doing some checking with the other scene...<br>What can you say about my idea? :3<br><br>[[Dgreater1|DGreater1]] (Wednesday 3:52AM April 18, 2007 Philippine Time)
::::::I like it and I say Kotomi's route having exceptions should be fine given that she has no impact on other routes, meaning everything said and done with her only exists in her route and once you get into her route you lose just about all other paths. But in a way that implies the same can go for Miyazawa (though I still find hers more of an almagam, though Kotomi's isn't that far from it either) We'll use your changes then. -Amoirsp

== School Foundation Day ==

See [[Talk:Clannad:Guidelines#.E5.89.B5.E7.AB.8B.E8.80.85.E7.A5.AD]]

If there are no objections, could you look into changing all instances of Founder's Day to School Foundation Day? Thanks.

--[[User:Velocity7|velocity7]]

== response to comment left on my discussion page ==

I know what you mean... almost all English books are past tense, and I've read in past tense for so long... But still, the Guidelines say that Tomoya's narration is to be written in present tense: end of story. [[User:Hiiragi Kagami|Hiiragi Kagami]] 21:26, 25 November 2007 (PST)

::Sorry it took time for me to give my opinion on this tense thing (Work overload again). Anyway, I mostly follow the Japanese tense because there is a fact that even though writing Tomoya's narration in present tense, there's a big chance that what he did already happened (making it completely past tense). But anyway, not all of his narrations are in past tense, I also encounter his present tense narration. Anyway again, no matter how much we want the reader to feel like they are experiencing the text, we can't disregard that the event already happened :3 [[User:Dgreater1|DGreater1]] Nov. 30 8:30PM (GMT 8:00+)

User talk:DGreater1

2007-11-19T20:42:38Z

Dgreater1: Gah! XD

Concerning SEEN4505--maybe it's really not my place to say something like this, but...
*ハンチントン舞踏病, I think, would correctly translate to "Huntington's chorea", instead of "Han chin ton chorea". That's actually the old-fashioned name of it--in the English language, they just call it "Huntington's disease" or "Huntington disease", I think.
*Here's a picture of an apple pie with a lattice decoration: http://en.wikipedia.org/wiki/Image:Apple_pie.jpg
*A Jonathan apple is a specific cultivar of apple--as opposed to a Golden Delicious, a Granny Smith, a Blenheim Orange, etc.
*The book is by Midori Osaki (尾崎翠), and called "第七官界彷徨", which translates to about "Wandering in the World of the Seventh Sense", or something like that. Uh, actually, I think this is the book and the author. Now I'm not too sure anymore. Oh well.
--[[User:24.221.176.159|24.221.176.159]] 14:59, 13 May 2007 (PDT)

Concerning Tomoyo's route, in the first few scenarios, Tomoya says 'good ecchi'. It has been mostly translated as 'try something indecent'.

In 2417, Sunohara says, 'raku janai'. Well, a lot of effort was put into making it sound plausible and making sense out of it... but isn't is just simply that Sunohara mistook Tomoya's 'good ecchi' (Engrish) for 'good luck'? (Only Sunohara could mistake that XD ). I've thought of changing the sentences myself, but how do you change 'good ecchi' into something English so that

it dosen't make the scene where Sunohara says 'raku janai' make readers go
: Reader: "Err... okaayy."

I was thinking of changing the phrase to 'good perversion'

Then again, it might be best to just put it as 'good ecchi' and have the explanation in brackets (Do something perverted!) as per the Japanese translation (if so, should we add that at every instance of the phrase?) . Your comments?

--[[User:Jc100|Jc100]] 18:24, 1 June 2007 (PDT)

== Clannad TV ==

Sure, I'd love to, but 1:30 A.M. air time is 12:30 PM, and I'm not sure if I can be available at that time, due to school.
What am I supposed to do at that time? -Mashu
:There's plenty of time to waste before that. Since it airs at 12:30PM in your place, the show will be over within 1PM, but the RAW==>FTP Server upload would take about 20mins max time so you'll have to wait until around 1:20PM+ for you to get the RAW (captioned). Assuming you have a fast connection, your download of the RAW would only take roughly 15 to 30 mins, so in short, you have to be kind of free at around 1:30PM and above -DGreater1 :3

User talk:DGreater1

2007-11-19T20:40:23Z

Dgreater1: Just a reply :3

Concerning SEEN4505--maybe it's really not my place to say something like this, but...
*ハンチントン舞踏病, I think, would correctly translate to "Huntington's chorea", instead of "Han chin ton chorea". That's actually the old-fashioned name of it--in the English language, they just call it "Huntington's disease" or "Huntington disease", I think.
*Here's a picture of an apple pie with a lattice decoration: http://en.wikipedia.org/wiki/Image:Apple_pie.jpg
*A Jonathan apple is a specific cultivar of apple--as opposed to a Golden Delicious, a Granny Smith, a Blenheim Orange, etc.
*The book is by Midori Osaki (尾崎翠), and called "第七官界彷徨", which translates to about "Wandering in the World of the Seventh Sense", or something like that. Uh, actually, I think this is the book and the author. Now I'm not too sure anymore. Oh well.
--[[User:24.221.176.159|24.221.176.159]] 14:59, 13 May 2007 (PDT)

Concerning Tomoyo's route, in the first few scenarios, Tomoya says 'good ecchi'. It has been mostly translated as 'try something indecent'.

In 2417, Sunohara says, 'raku janai'. Well, a lot of effort was put into making it sound plausible and making sense out of it... but isn't is just simply that Sunohara mistook Tomoya's 'good ecchi' (Engrish) for 'good luck'? (Only Sunohara could mistake that XD ). I've thought of changing the sentences myself, but how do you change 'good ecchi' into something English so that

it dosen't make the scene where Sunohara says 'raku janai' make readers go
: Reader: "Err... okaayy."

I was thinking of changing the phrase to 'good perversion'

Then again, it might be best to just put it as 'good ecchi' and have the explanation in brackets (Do something perverted!) as per the Japanese translation (if so, should we add that at every instance of the phrase?) . Your comments?

--[[User:Jc100|Jc100]] 18:24, 1 June 2007 (PDT)

== Clannad TV ==

Sure, I'd love to, but 1:30 A.M. air time is 12:30 PM, and I'm not sure if I can be available at that time, due to school.
What am I supposed to do at that time?
:There's plenty of time to waste before that. Since it airs at 12:30PM in your place, the show will be over within 1PM, but the RAW==>FTP Server upload would take about 20mins max time so you'll have to wait until around 1:20PM+ for you to get the RAW (captioned). Assuming you have a fast connection, your download of the RAW would only take roughly 15 to 30 mins, so in short, you have to be kind of free at around 1:30PM and above :3

User talk:Mashu

2007-11-18T01:39:22Z

Dgreater1: Yo, just a question

== Tsukkomi ==

Tsukkomi is best interpreted as a jab at something. It's not as complicated as I've seen some comments about it. I'm sure you guys already know what it is, but I'll just explain just in case. It's basically where one butts in and makes corrections to someone's stupid mistake or statement.

Example: Kotomi tells Tomoya that it's okay for students of this school to come to the library freely. He thinks:
今は閉室時間だろとか、そもそも今日は学校休みだろとか、ツッコミたいことは山ほどあったが、問題はそこじゃない。
*Wouldn't you think that: Mountains of corrections such as 'isn't it supposed to be closed' and 'school is not even active today' came to mind, but that wasn't the problem.
*Sounds a lot better than: There are mountains of tsukkomi I could do such as 'isn't it supposed to be closed' and 'school is not even active today' but that wasn't the problem.

Discuss!
:That's fine for me. We could use some proper replacement with the tsukkomi lines to make the translation clear, like the one I did with SEEN4506 :3<br><br>
:
:<0187> \{Kyou} "Saying such easygoing words would someday make this place a gathering spot for some other club." *
:// Not sure with this line though @_@ -DGreater1
:// \{杏}「そんな悠長なこと言ってるから、ここはいつまで経っても変な部外者のたまり場なのよ」
:<0188> \{\m{B}} "Can I butt in with '\bDon't say that.'?"\u
:// \{\m{B}}「『おまえが言うな』ってツッコんでもいいか？」
:<0189> \{Kyou} "I'll retaliate with '\bYou too.'"\u
:// \{杏}「『あんたもね』ってツッコミかえすわよ？」
:<0190> \{\m{B}} "........."
:// \{\m{B}}「………」
:<br>
:The next question is, are we going to replace every tsukkomi lines so it would work with the line or only those that need a clear interpretation? Like for example, Line 0307 of SEEN4418, Line 0079, 0101, 0318 of SEEN4419. We might end up completely eliminating the essence of tsukkomi in exchange for clear interpretation if we change every tsukkomi lines though. And there's discussion problem too @_@, only a few of us might discuss this problem... -DGreater1

:: I'm fine with it given that not only is it very implicit, but there are notations that make it obvious. If we all remember, there's some line when Tomoya is talking to Kotomi and he asks himself, will I always be the tsukkomi? So even if all the lines use it without actually saying it, since you don't usually say tsukkomi within a tsukkomi, there are portions that specificially state it. There's also the effects of sudden responses, which Kyou does, or the quotations with the bolding emphasis. If anything, if the tsukkomi replacement is losing essence, then provide it on the first tsukkomi line or so. Does a problem occur, we'll just adjust accordingly. I mean, things like the urate chop won't be changed, I believe. -Amoirsp

== Un and Uun. ==

Well, un and uun is obviously yes and no, though you'll also notice this is Kotomi's given behavioural pattern. As you notice, she is denoted as very childish, since despite having the characteristic of being a number one student, she is absolutely poor in socialising. Thus, un and uun were used to denote this specific pattern that does not exist in any other character. Since Kotomi's route is independent given that she does not exist in any other route, using an abnormal amount of yes and no had certain redundancy. It also made itself different than hai and iye (er I don't know the roomanji for the other no), because that version of yes and no exists in the other girl characters within the same route, yet they are so much different.

You'll also notice she says are and arere a lot. Surely it is huh but under context it's a very obvious implication. Again, child-like behaviour emphasized. Due to the oddity of repetition, it causes using this entirely in English seem the more awkward, especially when many notations are purely Japanese such as a certain Japanese idioms, which we probably wouldn't know immediately, as well as other things. Also are would be huh, but so would arere, as the second huh wouldn't denote the extra confusion or the denoted repetition.

In this sense un and uun can seem more like sounds of agreement. Like mmhmm and mmm mmm/nn nn (... yes and no). Like, it's supposed to be a notation of agreement or understanding, but not a strict yes, since that would be hai, or something like that. Well, that's just what I think. Same thing with no, it seems more like the version that you would do while shaking your head. You're saying no, but you're saying "nn nn" or in Japanese, "uun", though we wouldn't put mmhmm or nn nn or however you spell those.

Of course that doesn't mean un and uun are better than yes and no. Just wanted to briefly state why it was left like that, as you'll notice if you went through all the seens, all of them are un and uun for this specification that denotes Kotomi's independent personality that has no similarities to any characters, thus it was used as a distinguishing pattern. Though again, it is a notation of the childish behaviour, thus you see certain excessive repetition. You also already see how communication itself is already two different pages.

Though in all honesty it was simply used as personal flavouring, which was propelled by how independent the route is. You'll notice nearly immediately that when playing the game, you cannot have Kotomi routes coexist with any other routes, aside from the first day you meet her through skipping class.

Yes and no is fine, though there will be a ridiculously high amount of it. It would be English accurate, but by text alone it is less obvious of the mood or tone that one is a childish yes and the other a normal yes. So yes and no weren't used as distinguishing factours.

I repeated myself too much. Kotomi's route has more variability and less limitations, so it's easier to interchange. Notice how the language reversal was already a problem, though un and uun was merely preference. Yes and no is still correct. Of course there were also problems with not recognising lines from famous books or scientific names. Then you also have the SFX of a nod, then Tomoya saying she nodded, same goes with stopping, spinning, and whatever other sound effects occur in this route given the tsukkomi implications as well as Kotomi's relative cluenessness and odd behaviour. Again, that was why un and uun was used, to make the responses contain the oddity yet under context being obvious that there's more like sounds of agreement rather than a proper yes and no despite the fact that she is polite, she is still childish. So yeah, implicative notation is how I see it. I'm not going to change anything though.

--[[User:Amoirsp|Amoirsp]]
: Pros & Cons of maintaining the '''Un''' & '''Uun'''<br><br>
:
:'''Pros:''' As for me who knows how '''un''' and '''uun''' works, maintaining it has a good deal of reflecting a bit of Kotomi's timid personality which is one of the aspect that differentiate her to the other girls. It also eliminates the redundancy of too much ''yes'', ''okay'', ''no'', ''not really'' and it fits how the word and voice is single syllable. And it also maintains her universal reply (all purpose agreement and disagreement with something.) and gives the reader an imagination that she might be shaking her head for ''uun'' and nodding once for ''un''. It's almost the same as maintaining the way Fuuko says her name in most of her sentences :3
:'''Cons:''' One of the cons is I'm not sure if most people would be able to understand how '''un''' and '''uun'''... <br><br>
:
:But anyway, I guess I'm a little bit in favor of maintaining it since I (personally) have no problem with it.
:--[[User:Dgreater1|DGreater1]]

:It really doesn't matter to me how it's left, and I already know why it was left as un and uun. It'll just have to be real clear what un and uun means to the players. I was just more concerned about how the players will feel about un and uun.
:
:My real concern is the reversing of the languages. I notice that some places where she's reading something in English, it was translated as her reading in Japanese, or a phrase in English is switched into a phrase in Japanese. I think this would just make things even more confusing, since the setting is already in Japan. Since the players are already aware that everybody in the game is Japanese, and that the game itself is Japanese, I really don't think any language should be reversed.
:--[[User:Mashu|Mashu]] 21:56, 19 May 2007 (PDT)
::Oh about the language reversal on her route? The problem is the climax of her route. I really believe that it requires to reverse that part there because there's a purpose why that line is in English... and I don't think reversing that alone would be good with the flow of the translation. Take for example the scissor part with Kotomi in the bookshop. She said scissors in her first explanation but in the second explanation, she said, "In English it's scissor..." which is kind of redundant that's why I reversed it as "In Japanese..." that part also exist with Yukine's route where Sunohara said, "Really" in English then Tomoya commented on it with "More English words came out." It will look redundant and kind of odd when you read it because the readers are reading an English translation despite knowing that it's a Japanese game. You should also read this [http://www.baka-tsuki.net/project/index.php?title=User_talk:Amoirsp#About_the_language_reversal About the Language Reversal]. Anyway, you'll see what I mean once you finish Kotomi's route... though I'm sure you'll finish reading Kotomi's route first before I finish translating her route ^_^; --[[User:Dgreater1|DGreater1]] 1:30PM (+8:00)

== About what you should do ==

Don't really know, you're in the Translator Team, but I think I prefer you to be in the Translation Checker Team since we don't really have anyone really fluent in Japanese to check if the translation is right or wrong, but even still, it's up to you or for the leader to decide :P -[[User:Dgreater1|DGreater1]]
:All I have to say is I like your inputs very much. So I'm not against anything. If you end up or currently like/enjoy the role you're doing or told to do, then I would find that best. -[[User:Amoirsp|Amoirsp]]
Thanks, I enjoy translating and checking translations, but I also do believe checking your translations and grammar is what I would be faster and better at doing. -[[User:Mashu|Mashu]]

== IRC ==

Can you come idle in IRC when you can? Thanks. --[[User:Velocity7|velocity7]]

== CLANNAD TV ==

Yo, Mashu, would you mind if we ask you for help with CLANNAD TV translation? Its air time in Japan is 1:30AM of Friday, so you have to be kind of free around the air time. Well, that's only if you're free at that time :3 -DGreater112

User:Dgreater1

2007-11-15T00:10:45Z

Dgreater1: The irony, I was about to leave to stay in the office when it suddenly rain. I didn't have an umbrella so I was forced to go home... the worst thing is, I don't have an umbrella XD

I'm DGreater1 just your average person who pops in and out without warning. I'm mostly away due to plenty of reason so don't be all work up if you can't contact me ^_^. One thing you'll notice about me is that I'm a '''frank''' person that will always pop out of somewhere and will give my opinion especially if it's conflicting with what I believe (hence, my attitude of reading to much to stuffs). But of course when I'm wrong, I always accept that I'm wrong and would gladly accept other's opinion... that is, if I found theirs to be acceptable, but mostly, I will just ignore things if I don't find it acceptable, so bare with that attitude of mine that always makes sure things are correct, it's been with me ever since I'm a kid... And you'll also notice that most of my comments are questions even though I'm talking about facts :3

Anyway, this is how I translate stuffs recently...

* I try to be as literal as possible when it comes to dialogues but when it comes to narrations, my priority is to interpret what the line is trying to convey and to make sure that it's making some sense. I use the most common words in the dictionary to make sure that the line is understandable and I don't use too much idiomatic expression. Overall... my motto is '''close to literal+natural''' as much as possible.

* I leave comments to lines I'm not really sure I translated correctly. I also put comments to explain lines I understood but don't think I translated correctly.

* I try to translate the dialogues while maintaining the context and at the same time, try to match the syllables with the original Japanese line.

* I leave the lines I completely don't understand or have doubts with or I might just add "*" at the end of that line.

You have complaints? Go to the police station and complain all you want (just kidding ^_^;)

*I will have a massive slowdown on my already slow paced checking due to work overload. I'll try to check in from time to time if I have the chance though. --[[User:Dgreater1|DGreater1]] 15:35, 14 November 2007 (PST)

User:Dgreater1

2007-11-14T23:35:27Z

Dgreater1: Just a small notice

I'm Rizaldo M. Ibarra (now that's what I call a very heroic name ^^;) just your average person who pops in and out without warning. I'm mostly away due to plenty of reason so don't be all work up if you can't contact me ^_^. One thing you'll notice about me is that I'm a '''frank''' person that will always pop out of somewhere and will give my opinion especially if it's conflicting with what I believe (hence, my attitude of reading to much to stuffs). But of course when I'm wrong, I always accept that I'm wrong and would gladly accept other's opinion... that is, if I found theirs to be acceptable, but mostly, I will just ignore things if I don't find it acceptable, so bare with that attitude of mine that always makes sure things are correct, it's been with me ever since I'm a kid... And you'll also notice that most of my comments are questions even though I'm talking about facts :3

Anyway, this is how I translate stuffs recently...

* I try to be as literal as possible when it comes to dialogues but when it comes to narrations, my priority is to interpret what the line is trying to convey and to make sure that it's making some sense. I use the most common words in the dictionary to make sure that the line is understandable and I don't use too much idiomatic expression. Overall... my motto is '''close to literal+natural''' as much as possible.

* I leave comments to lines I'm not really sure I translated correctly. I also put comments to explain lines I understood but don't think I translated correctly.

* I try to translate the dialogues while maintaining the context and at the same time, try to match the syllables with the original Japanese line.

* I leave the lines I completely don't understand or have doubts with or I might just add "*" at the end of that line.

You have complaints? Go to the police station and complain all you want (just kidding ^_^;)

:I will have a massive slowdown on my already slow paced checking due to work overload. I'll try to check in from time to time if I have the chance though. --[[User:Dgreater1|DGreater1]] 15:35, 14 November 2007 (PST)

User:Dgreater1

2007-11-05T09:39:38Z

Dgreater1: Just a minor update

User talk:Richard 23

2007-11-04T00:31:58Z

Dgreater1: Just a reply

== Changes ==

Try to consolidate the changes, as if you notice in Recent changes, you've made quite a mess... :(

Make all your edits and edit in one go if you can.

--[[User:Velocity7|velocity7]]

Sorry. I didn't want to make any huge changes since I'm just a guest here. And I tried my best to document exactly what I did. :-P --[[User:Richard 23|Richard 23]] 16:44, 1 November 2007 (PDT)

== Future Projects ==

Please don't put future project suggestions on the Main Page's talk page. The forums exist for a reason (other then spam).

--[[User:Jumpyshoes|Jumpyshoes]] 16:35, 3 November 2007 (PDT)
: And from what I know, Translation of AIR RealLive version has already been taken by Moogy, all he needs are free translators on his team which could help him with the project. Anyway, I can't really broadcast the website since I don't have his permission to do so, and I don't really have permission to add other's website here except websites that is needed by a note or something. :3 -[[User:Dgreater1|DGreater1]]

User:Amoirsp

2007-10-22T21:38:15Z

Dgreater1: Added two words from the list :3

Okay even with midterms I still like to check here, not that I'm cutting studying time. When it ends, then I might get rolling.

Random variants list

* Advisor : Adviser
* Cancelled : Canceled (Same with Travel, and others with l)
* Geeze : Geez
* Manoeuvre : Maneuver (er, not in this game)
* Centre: Center (and many other re/er)
* All right: Alright
* Snuck: Sneaked

Hm can't remember that many off the top of my head. Although I enjoy British variants more, it looks more likely that the American spelling would be used simply because it is easier to locate red underscores.

User talk:Mashu

2007-10-22T11:20:10Z

Dgreater1: Yo, hisashiburi

== Tsukkomi ==

Tsukkomi is best interpreted as a jab at something. It's not as complicated as I've seen some comments about it. I'm sure you guys already know what it is, but I'll just explain just in case. It's basically where one butts in and makes corrections to someone's stupid mistake or statement.

Example: Kotomi tells Tomoya that it's okay for students of this school to come to the library freely. He thinks:
今は閉室時間だろとか、そもそも今日は学校休みだろとか、ツッコミたいことは山ほどあったが、問題はそこじゃない。
*Wouldn't you think that: Mountains of corrections such as 'isn't it supposed to be closed' and 'school is not even active today' came to mind, but that wasn't the problem.
*Sounds a lot better than: There are mountains of tsukkomi I could do such as 'isn't it supposed to be closed' and 'school is not even active today' but that wasn't the problem.

Discuss!
:That's fine for me. We could use some proper replacement with the tsukkomi lines to make the translation clear, like the one I did with SEEN4506 :3<br><br>
:
:<0187> \{Kyou} "Saying such easygoing words would someday make this place a gathering spot for some other club." *
:// Not sure with this line though @_@ -DGreater1
:// \{杏}「そんな悠長なこと言ってるから、ここはいつまで経っても変な部外者のたまり場なのよ」
:<0188> \{\m{B}} "Can I butt in with '\bDon't say that.'?"\u
:// \{\m{B}}「『おまえが言うな』ってツッコんでもいいか？」
:<0189> \{Kyou} "I'll retaliate with '\bYou too.'"\u
:// \{杏}「『あんたもね』ってツッコミかえすわよ？」
:<0190> \{\m{B}} "........."
:// \{\m{B}}「………」
:<br>
:The next question is, are we going to replace every tsukkomi lines so it would work with the line or only those that need a clear interpretation? Like for example, Line 0307 of SEEN4418, Line 0079, 0101, 0318 of SEEN4419. We might end up completely eliminating the essence of tsukkomi in exchange for clear interpretation if we change every tsukkomi lines though. And there's discussion problem too @_@, only a few of us might discuss this problem... -DGreater1

:: I'm fine with it given that not only is it very implicit, but there are notations that make it obvious. If we all remember, there's some line when Tomoya is talking to Kotomi and he asks himself, will I always be the tsukkomi? So even if all the lines use it without actually saying it, since you don't usually say tsukkomi within a tsukkomi, there are portions that specificially state it. There's also the effects of sudden responses, which Kyou does, or the quotations with the bolding emphasis. If anything, if the tsukkomi replacement is losing essence, then provide it on the first tsukkomi line or so. Does a problem occur, we'll just adjust accordingly. I mean, things like the urate chop won't be changed, I believe. -Amoirsp

== Un and Uun. ==

Well, un and uun is obviously yes and no, though you'll also notice this is Kotomi's given behavioural pattern. As you notice, she is denoted as very childish, since despite having the characteristic of being a number one student, she is absolutely poor in socialising. Thus, un and uun were used to denote this specific pattern that does not exist in any other character. Since Kotomi's route is independent given that she does not exist in any other route, using an abnormal amount of yes and no had certain redundancy. It also made itself different than hai and iye (er I don't know the roomanji for the other no), because that version of yes and no exists in the other girl characters within the same route, yet they are so much different.

You'll also notice she says are and arere a lot. Surely it is huh but under context it's a very obvious implication. Again, child-like behaviour emphasized. Due to the oddity of repetition, it causes using this entirely in English seem the more awkward, especially when many notations are purely Japanese such as a certain Japanese idioms, which we probably wouldn't know immediately, as well as other things. Also are would be huh, but so would arere, as the second huh wouldn't denote the extra confusion or the denoted repetition.

In this sense un and uun can seem more like sounds of agreement. Like mmhmm and mmm mmm/nn nn (... yes and no). Like, it's supposed to be a notation of agreement or understanding, but not a strict yes, since that would be hai, or something like that. Well, that's just what I think. Same thing with no, it seems more like the version that you would do while shaking your head. You're saying no, but you're saying "nn nn" or in Japanese, "uun", though we wouldn't put mmhmm or nn nn or however you spell those.

Of course that doesn't mean un and uun are better than yes and no. Just wanted to briefly state why it was left like that, as you'll notice if you went through all the seens, all of them are un and uun for this specification that denotes Kotomi's independent personality that has no similarities to any characters, thus it was used as a distinguishing pattern. Though again, it is a notation of the childish behaviour, thus you see certain excessive repetition. You also already see how communication itself is already two different pages.

Though in all honesty it was simply used as personal flavouring, which was propelled by how independent the route is. You'll notice nearly immediately that when playing the game, you cannot have Kotomi routes coexist with any other routes, aside from the first day you meet her through skipping class.

Yes and no is fine, though there will be a ridiculously high amount of it. It would be English accurate, but by text alone it is less obvious of the mood or tone that one is a childish yes and the other a normal yes. So yes and no weren't used as distinguishing factours.

I repeated myself too much. Kotomi's route has more variability and less limitations, so it's easier to interchange. Notice how the language reversal was already a problem, though un and uun was merely preference. Yes and no is still correct. Of course there were also problems with not recognising lines from famous books or scientific names. Then you also have the SFX of a nod, then Tomoya saying she nodded, same goes with stopping, spinning, and whatever other sound effects occur in this route given the tsukkomi implications as well as Kotomi's relative cluenessness and odd behaviour. Again, that was why un and uun was used, to make the responses contain the oddity yet under context being obvious that there's more like sounds of agreement rather than a proper yes and no despite the fact that she is polite, she is still childish. So yeah, implicative notation is how I see it. I'm not going to change anything though.

--[[User:Amoirsp|Amoirsp]]
: Pros & Cons of maintaining the '''Un''' & '''Uun'''<br><br>
:
:'''Pros:''' As for me who knows how '''un''' and '''uun''' works, maintaining it has a good deal of reflecting a bit of Kotomi's timid personality which is one of the aspect that differentiate her to the other girls. It also eliminates the redundancy of too much ''yes'', ''okay'', ''no'', ''not really'' and it fits how the word and voice is single syllable. And it also maintains her universal reply (all purpose agreement and disagreement with something.) and gives the reader an imagination that she might be shaking her head for ''uun'' and nodding once for ''un''. It's almost the same as maintaining the way Fuuko says her name in most of her sentences :3
:'''Cons:''' One of the cons is I'm not sure if most people would be able to understand how '''un''' and '''uun'''... <br><br>
:
:But anyway, I guess I'm a little bit in favor of maintaining it since I (personally) have no problem with it.
:--[[User:Dgreater1|DGreater1]]

:It really doesn't matter to me how it's left, and I already know why it was left as un and uun. It'll just have to be real clear what un and uun means to the players. I was just more concerned about how the players will feel about un and uun.
:
:My real concern is the reversing of the languages. I notice that some places where she's reading something in English, it was translated as her reading in Japanese, or a phrase in English is switched into a phrase in Japanese. I think this would just make things even more confusing, since the setting is already in Japan. Since the players are already aware that everybody in the game is Japanese, and that the game itself is Japanese, I really don't think any language should be reversed.
:--[[User:Mashu|Mashu]] 21:56, 19 May 2007 (PDT)
::Oh about the language reversal on her route? The problem is the climax of her route. I really believe that it requires to reverse that part there because there's a purpose why that line is in English... and I don't think reversing that alone would be good with the flow of the translation. Take for example the scissor part with Kotomi in the bookshop. She said scissors in her first explanation but in the second explanation, she said, "In English it's scissor..." which is kind of redundant that's why I reversed it as "In Japanese..." that part also exist with Yukine's route where Sunohara said, "Really" in English then Tomoya commented on it with "More English words came out." It will look redundant and kind of odd when you read it because the readers are reading an English translation despite knowing that it's a Japanese game. You should also read this [http://www.baka-tsuki.net/project/index.php?title=User_talk:Amoirsp#About_the_language_reversal About the Language Reversal]. Anyway, you'll see what I mean once you finish Kotomi's route... though I'm sure you'll finish reading Kotomi's route first before I finish translating her route ^_^; --[[User:Dgreater1|DGreater1]] 1:30PM (+8:00)

== About what you should do ==

Don't really know, you're in the Translator Team, but I think I prefer you to be in the Translation Checker Team since we don't really have anyone really fluent in Japanese to check if the translation is right or wrong, but even still, it's up to you or for the leader to decide :P -[[User:Dgreater1|DGreater1]]

== IRC ==

Can you come idle in IRC when you can? Thanks. --[[User:Velocity7|velocity7]]

Talk:Clannad:SEEN4904

2007-10-18T09:13:10Z

Dgreater1: Alternate TL

<div class="clannadbox">
<pre>
// Resources for SEEN4904.TXT

#character '＊Ｂ'
#character 'Kotomi'
// 'ことみ'

// comes from SEEN4504, case 1
<0000> I woke up as always.
// いつも通りに目が覚めた。
<0001> I first thing I think of is my date with Kotomi today.
// 起き抜けの頭で、今日はことみとデートだ、と考える。
<0002> Though we had that much fun the other day, I was surprisingly calm on the appointed day.
// 昨日はあれほど楽しみだったのに、当日になったら意外に落ちついていた。
<0003> I look at the time.
//Proteenx11 Starts
// 時計を見る。
<0004> It's still too early to meet with her, and I have no reasons to be idling around home.
// orig TL: It's too early to go to the beach, but I haven't got any reason to hang about home.
// 待ち合わせにはまだ早いが、家でウダウダしている理由もない。
<0005> \{\m{B}} (Guess I'll go and get breakfeast on the way...)
// orig TL: I'll have breakfast on the way.!!
// \{\m{B}}（途中で朝飯でも食ってけばいいしな…）
<0006> I drag myself out of bed.
// 俺はベッドから抜け出た。
<0007> It's about 9:30 AM when I arrive at the promised location.
// orig TL: When I arrive at the beach, it's 9:30(am).
// 待ち合わせ場所に着いた時は、午前９時半だった。
<0008> I think there may be some chance that Kotomi is already there.
// もしかしたらと思ったら、やっぱりことみはもうそこにいた。
<0009> \{Kotomi} "Good afternoon, \m{B}-kun."
// \{ことみ}「\m{B}くん、こんにちは」
<0010> \{\m{B}} "It's not 'good afternoon' yet, it's still 'good morning'."
// \{\m{B}}「こんにちはじゃなくて、まだおはようだな」
<0011> Whilst Kotomi replies properly, I take a second look at what she is wearing.
// 適当に答えながら、俺は改めてことみの服装を見た。
<0012> Her breasts are a little open in that black one-piece.
// orig TL: (Her breasts are open a little bigger?) She is showing more bust today, in a black dress.
// 胸元が大きめに開いた、黒いワンピース。
<0013> She seems childish, and might be unexpectedly maturing in her tastes.
// (developing a style?).
// 子供っぽいように見えて、案外趣味は大人びているのかもしれない。
<0014> \{\m{B}} "I'll carry your bag."
// orig TL: "Your bag, I'm not carrying it."
// \{\m{B}}「荷物、俺が持つな」
<0015> She gives me the lunch box that was in her bag.
// 布製のバッグに入ったランチボックスを受け取る。
<0016> The size of her bag was a little light.
// orig TL: The size of her bag looks a bit silly.
// 荷物の大きさのわりには、軽いように感じた。
<0017> \{\m{B}} "Sandwiches maybe?"
// \{\m{B}}「もしかして、サンドイッチか？」
<0018> \{Kotomi} "Yup."
// \{ことみ}「うん」
<0019> \{\m{B}} "Well, if they're sandwiches, we can eat them anywhere..."
// \{\m{B}}「そうか。サンドイッチならどこでも食べられるしな…」
<0020> From that answer, I realized that we still hadn't decided on a place.
// orig TL: From her answer, she still seems to have noticed that we haven't decided on a destination.
// 答えてから、まだ行き先を決めてないのに気づいた。
<0021> \{\m{B}} "Is there a place you want to go to?"
// \{\m{B}}「どっか行きたいところ、あるか？」
<0022> \{Kotomi} "Well..."
// \{ことみ}「ええとね…」
<0023> \{Kotomi} "We can just do whatever \m{B}-kun wants to do..."
// \{ことみ}「\m{B}くんがよかったら、なんだけど…」
<0024> I stare at her patiently whilst she talks.
// 俺をじっと見詰めながら、言った。
<0025> \{Kotomi} "Well, the school library's good..."
// \{ことみ}「私、学校の図書室がいいの」
<0026> \{\m{B}} "............"
// \{\m{B}}「…………」
<0027> Ahhh, I see, that's where you want to go.
// なるほど、そう来たか。
<0028> \{Kotomi} "... you don't want to?"
// (Is that useless?)
// \{ことみ}「…だめ？」
<0029> \{\m{B}} "No, not like we can't but..."
// orig TL: "Yeah, it's no good.
// \{\m{B}}「うーん、ダメってわけじゃないけどな…」
<0030> I'd like to go to a resort or something during a national holiday, but talking about the school is just a little bit...
// orig TL: During a national holiday I want to go to do something like go to a holiday resort, as it's too much of an accomplishment to talk about school at such times.???(Wild Guess)
// Alt - While going to some holiday destination during a holiday would be too grand, going to school just seems a bit... - Kinny Riddle
// 祝日に行楽地は遠慮したいが、学校というのもあまりに芸がない気が…
<0031> Having said that, I haven't even decided the place myself yet.
// orig TL: Be that as it may because of this person, the destination is still undecided.
// Alt - Having said that, I haven't even decided on where to go yet. - Kinny Riddle
// とは言え、こっちだって目的地を決めてきたわけじゃない。
<0032> \{\m{B}} "... well, the library's fine."
// orig TL: "*sigh*, the library's fine then."
// \{\m{B}}「…いや、図書室でいいぞ」
<0033> With my answer, I felt relieved enough to smile.
// 俺が答えると、ほっとしたように笑った。
<0034> Of course, with Kotomi, I guess the library was a special place.
// やっぱりことみにとって、図書室は特別な場所なんだろう。//Hard!! Proteenx11:Finishes for now/continues
<0035> Getting a chance on the next "date" should be fine.
// orig TL: To be called a natural date, the next chance would be fine??
// 当たり前の『デート』というやつは、次の機会にすればいい。
<0036> \{\m{B}} "Well then, lets go."
// \{\m{B}}「それじゃ、行くぞ」
<0037> \{Kotomi} "Okay."
// \{ことみ}「うん」
<0038> So we left.
// 俺たちは歩き出した。// goto line 96
// comes from SEEN4504, case 2
<0039> I woke up as always.
// いつも通りに目が覚めた。
<0040> Feels like I was dreaming.
// Orig TL: I had a hunch she was dreaming.
// 夢を見ていた気がする。
<0041> I didn't really know whether or not that really was a dream.
// orig TL: I didn't understand that dreaming very well.??//Some of these are miles to hard for me, please edit violently!
// Alt - I wasn't really sure if that was really a dream. - Kinny Riddle
// それが本当に夢だったかも、よくわからない。
<0042> The first thing in my head when I woke up was today's date with Kotomi.
// orig TL: Saying "Good Afternoon" just after waking up, it made me think.
// 起き抜けの頭で、今日はことみとデートだ、と考える。
<0043> Though we had that much fun the other day, I was surprisingly calm on the appointed day.
// 昨日はあれほど楽しみだったのに、当日になったら意外に落ちついていた。
<0044> It might have been because I met that gentleman yesterday.
// orig TL: Yesterday we probably met that gentleman.??
// 昨日、あの紳士に会ったせいもあるかもしれない。
<0045> I look at the time.
// 時計を見る。
<0046> It's still too early to meet with her, and I have no reasons to be idling around home.
// 待ち合わせにはまだ早いが、家でウダウダしている理由もない。
<0047> \{\m{B}} (Guess I'll go and get breakfast on the way...)
// \{\m{B}}（途中で朝飯でも食ってけばいいしな…）
<0048> I drag myself out of bed.
// 俺はベッドから抜け出た。
<0049> It's about 9:30 AM when I arrive at the promised location.
// 待ち合わせ場所に着いた時は、午前９時半だった。
<0050> I think there may be some chance that Kotomi is already there.
// もしかしたらと思ったら、やっぱりことみはもうそこにいた。
<0051> \{Kotomi} "Good afternoon, \m{B}-kun."
// \{ことみ}「\m{B}くん、こんにちは」
<0052> \{\m{B}} "It's not 'good afternoon' yet, it's still 'good morning'."
// \{\m{B}}「こんにちはじゃなくて、まだおはようだな」
<0053> Whilst Kotomi replies properly, I take a second look at what she is wearing.
// 適当に答えながら、俺は改めてことみの服装を見た。//Proteenx11 Finishes again.
<0054> Her breasts are a little open in that black one-piece.
// 胸元が大きめに開いた、黒いワンピース。
<0055> She seems childish, and might be unexpectedly maturing in her tastes.
// 子供っぽいように見えて、案外趣味は大人びているのかもしれない。
<0056> \{\m{B}} "I'll carry your bag."
// \{\m{B}}「荷物、俺が持つな」
<0057> She gives me the lunch box that was in her bag.
// 布製のバッグに入ったランチボックスを受け取る。
<0058> The size of her bag was a little light.
// 荷物の大きさのわりには、軽いように感じた。
<0059> \{\m{B}} "Sandwiches, maybe?"
// \{\m{B}}「もしかして、サンドイッチか？」
<0060> \{Kotomi} "Yup."
// \{ことみ}「うん」
<0061> \{\m{B}} "Well, if they're sandwiches, we can eat them anywhere..."
// \{\m{B}}「そうか。サンドイッチならどこでも食べられるしな…」
<0062> From that answer, I realized that we still hadn't decided on a place.
// 答えてから、まだ行き先を決めてないのに気づいた。
<0063> \{\m{B}} "Is there anywhere you want to go?"
// \{\m{B}}「どっか行きたいところ、あるか？」
<0064> \{Kotomi} "Well..."
// \{ことみ}「ええとね…」
<0065> \{Kotomi} "There's this really wonderful place."
// orig TL: "Over there is a very lovely place."
// \{ことみ}「とっても素敵な場所があるの」
<0066> \{Kotomi} "I'm sure \m{B}-kun also loves that place."
// \{ことみ}「きっと\m{B}くんも、大好きだと思うの」
<0067> Her eyes shines as she says it, as if she decided it from the beginning.
// 最初から決めていたんだろう、目を輝かせながら言う。
<0068> \{\m{B}} "If it's a place you want to go to, anywhere is fine..."
// \{\m{B}}「おまえが行きたいなら、どこでもいいけどな…」
<0069> \{\m{B}} "I'd like to avoid a really packed place if possible."
// orig TL: "If the remainder of the place is packed, I would like to avoid that."
// \{\m{B}}「あんまり混むところはできれば避けたいぞ、俺としては」
<0070> \{Kotomi} "Not at all. Today is certainly less crowded."
// \{ことみ}「ううん。今日ならきっと空いてるの」
<0071> \{\m{B}} "Hmmm... I didn't know there's a place like that around here..."
// \{\m{B}}「ふーん、この近所にそんな穴場があるのか。知らなかったな…」
<0072> \{Kotomi} "Nope... it's not like that."
// \{ことみ}「ううん、ちがうの」
<0073> \{Kotomi} "\m{B}-kun also knows that place."
// \{ことみ}「\m{B}くんも知ってる場所なの」
<0074> \{\m{B}} "I know it too...?"
// \{\m{B}}「…俺も知ってる？」
<0075> I try to think one more time.
// もう一度考えてみる。
<0076> There shouldn't be any big park or amusement park around here...
// 大きな公園とか遊園地とか、この近辺にそういう施設はないはずだ。
<0077> A vague and uneasy feeling returns to my chest, as if continuing a dream.
// 夢の続きのような、あやふやな不安が胸に戻ってくる。
<0078> Also... why was it that Kotomi said that I know this place?
// それに…どうしてことみは、俺も知ってると言いきっているのだろう？
<0079> \{\m{B}} "I'm sorry. I don't know where it is..."
// \{\m{B}}「ごめんな。どこかわからない…」
<0080> \{Kotomi} "Well..."
// \{ことみ}「あのね…」
<0081> She closes her lips to my curious ears.
// 困惑する俺の耳に、唇をそっと近づけてきた。
<0082> \{Kotomi} "It's the school's library."
// \{ことみ}「学校の図書室なの」
<0083> \{\m{B}} "............"
// \{\m{B}}「…………」
<0084> Ahhh, I see, that's where you want to go.
// なるほど、そう来たか。
<0085> \{Kotomi} "... you don't want to?"
// \{ことみ}「…だめ？」
<0086> \{\m{B}} "No, not like we can't but..."
// \{\m{B}}「うーん、ダメってわけじゃないけどな…」
<0087> I'd like to go to a resort or something during a national holiday, but talking about the school is just a little bit...
// Alt - While going to some holiday destination during a holiday would be too grand, going to school just seems a bit... - Same as 0030 - Kinny Riddle
// 祝日に行楽地は遠慮したいが、学校というのもあまりに芸がない気が…
<0088> Having said that, I haven't even decided the place myself yet.
// Alt - Having said that, I haven't even decided on where to go yet. - Same as 0031 - Kinny Riddle
// とは言え、こっちだって目的地を決めてきたわけじゃない。
<0089> \{\m{B}} "... well, the library's fine."
// \{\m{B}}「…いや、図書室でいいぞ」
<0090> With my answer, I felt relieved enough to smile.
// 俺が答えると、ほっとしたように笑った。
<0091> Of course, with Kotomi, I guess the library was a special place.
// やっぱりことみにとって、図書室は今でも特別な場所なんだろう。
<0092> Getting a chance on the next "date" should be fine.
// 当たり前の『デート』というやつは、次の機会にすればいい。
<0093> \{\m{B}} "Well then, lets go."
// \{\m{B}}「それじゃ、行くぞ」
<0094> \{Kotomi} "Okay."
// \{ことみ}「うん」
<0095> So we left.
// 俺たちは歩き出した。
<0096> There was a somewhat nostalgic smell upon entering the library.
// 図書室に入るなり、どこか懐かしい匂いがした。
<0097> Even though we had come on Friday, I feel like I had completely forgotten about it.
// 金曜日に来たばかりなのに、ずっと忘れていたような、そんな気がした。
<0098> Kotomi took a mop to the floor, and became barefoot.
// Alt - Kotomi proceeded to mop the floor and took off her shoes and socks. - Kinny Riddle
// ことみは床にモップをかけ、そして裸足になった。
<0099> Of course, I pulled over the usual cushion as always.
// Alt - And as usual, she took out her cushion like before. - It's Kotomi that's pulling the cushion out, not Tomoya. - Kinny Riddle
// もちろん、いつものクッションも引っぱり出してきた。
<0100> \{\m{B}} "You really love the library, don't you?
// \{\m{B}}「おまえって、ほんとに図書室大好きだな」
<0101> \{Kotomi} "Yup. I do."
// \{ことみ}「うん。大好きなの」
<0102> \{Kotomi} "Today I am also surrounded by books, so I am happy."
// \{ことみ}「今日もご本に囲まれて、しあわせ」
<0103> She says that with her usual sweet smile, saying that.
// いつかと同じ笑顔で、にっこりと言う。
<0104> \{\m{B}} "So, you'll be reading some books now?"
// \{\m{B}}「で、おまえは今から本読むんだよな？」
<0105> \{Kotomi} "Yup."
// \{ことみ}「うん」
<0106> A sweet smile.
// にっこりと笑う。
<0107> \{\m{B}} "What should I be doing?"
// \{\m{B}}「俺はどうすればいいんだろうな？」
<0108> \{Kotomi} "？？"
// \{ことみ}「？？」
<0109> \{Kotomi} "Well..."
// \{ことみ}「ええと…」
<0110> \{Kotomi} ".................."
// \{ことみ}「………………」
<0111> She's thinking over something.
// 何やら考え込んでいる。
<0112> \{Kotomi} ".............................."
// \{ことみ}「…………………………」
<0113> ... well, if you think that much, instead you'd be pretty miserable.
// Alt - ...Well, if you think too much about it, you'll become really miserable. - Kinny Riddle
// …いや、そこまで悩まれると、逆に情けなくなってくるし。
<0114> \{Kotomi} "Would you like to read together?"
// \{ことみ}「一緒に、ご本読まない？」
<0115> Just as I thought.
// 思った通りだった。
<0116> \{\m{B}} "... forgive me but, just that?"
// Alt - "...Anything but that, please." - Literal "Just that alone let me off the hook please, I'm serious" - Kinny Riddle
// \{\m{B}}「…それはだけ勘弁してくれ、マジで」
<0117> \{Kotomi} "........."
// \{ことみ}「………」
<0118> A slightly encouraging face.
// 少しだけ、がっかりした表情。
<0119> A faint guilt...
// かすかな罪悪感…
<0120> At the time she was thinking of saying something, instead the sound of our stomachs rumbled.
// 何か言ってやろうとした時、かわりに腹がぐうと鳴った。
<0121> \{Kotomi} "Are you hungry, \m{B}-kun?"
// \{ことみ}「\m{B}くん、お腹空いてる？」
<0122> \{\m{B}} "I guess so. I haven't eaten breakfast..."
// \{\m{B}}「そうだな。朝飯も食べなかったし…」
<0123> \{Kotomi} "Then, you can eat lunch first."
// Alt - "Then let's have lunch first." - Doesn't make sense for Kotomi to watch Tomoya eat alone - Kinny Riddle
// \{ことみ}「それじゃ、先にお昼ご飯にするの」
<0124> \{\m{B}} "It's a bit early for noon, but I'm grateful doing that."
// Alt - "While it may a bit early for lunch, but thanks anyway." - Kinny Riddle
// \{\m{B}}「昼には早いけど、そうしてもらえるとありがたいな」
<0125> Kotomi began preparing at once.
// 早速ことみは支度を始めた。
<0126> Taking a seat, I waited for the dinner table to be set up.
// 俺は椅子に腰かけて、食卓が整うのを待っていた。
<0127> The sandwich was quite delicious.
// サンドイッチはかなりうまかった。
<0128> She didn't analyze its contents, and she gave me more than it used to be.
// ことみは中身を分解することもなく、いつもよりたくさん俺にすすめてきた。
<0129> \{Kotomi} "Let's share."
// For some odd reason, Kotomi's voice in this SEEN sound more high pitched than usual :3 -DGreater1
// \{ことみ}「半分こなの」
<0130> \{\m{B}} "It wouldn't be '\bshare'\u if I ate most of it, right?"
// \{\m{B}}「俺だけ食べたら、半分こじゃないだろ？」
<0131> \{Kotomi} "I want \m{B}-kun to eat a lot today."
// \{ことみ}「今日は\m{B}くんにたくさん食べてほしいの」
<0132> \{Kotomi} "So, let's share."
// \{ことみ}「だから、半分こなの」
<0133> And then, her normal smile.
// 控えめな感じで笑う。
<0134> It looks like Kotomi doesn't have an appetite.
// Alt - Seems like Kotomi doesn't have much of an appetite. - Kinny Riddle
// ことみはちょっと食欲がないようだった。
<0135> Also, her after meal was reading.
// Alt - After lunch, we spent time reading books together. - 読書会 means "reading session" - Kinny Riddle
// 食後は読書会だった。
<0136> However... I'll only be watching Kotomi read books...
// For some reason, this line is kinda hard to put in English -DGreater1
// Alt - Though I say that, all I did was watch Kotomi read her books. - Kinny Riddle
// と言っても、本を読むことみを俺は見ているだけだが。
<0137> Kotomi immediately went into her own world.
// すぐにことみは夢中になった。
<0138> Only the sound of the flipping page resounding through the high ceiling of the library can be heard.
// Alt - The only sound heard was the echoes from the ceiling made by her flipping the pages. - Kinny Riddle
// ページをめくる音だけが、図書室の高い天井に響いている。
<0139> \{\m{B}} (I won't be doing anything at all in the end, huh...)
// Alt - (I ended up doing nothing again, huh...) - Kinny Riddle
// \{\m{B}}（結局、俺は何もしてないんだよな…）
<0140> I think of that again.
// また、そんなことを思う。
<0141> My memories become blurred as I suppressed my yawn.
// あくびをかみ殺すと、記憶が曖昧になってくる。
<0142> I have an unusual feeling that seems like I've always been living together with Kotomi in the library.
// ことみとふたりで、ずっと図書室で暮らしているような、妙な感覚。
<0143> I close my eyes.
// 目を閉じる。
<0144> I don't feel bad about this.
// こういうのも悪くない。
<0145> It would be good if this could always continue.
// こんな時間が、ずっと続いたらいい。
<0146> The afternoon sunlight pouring inside through the library window.
// 午後の陽射しが、たっぷりと降り注ぐ図書室の窓辺。
<0147> And Kotomi, forever reading books...
// ことみがいつまでも、本を読んでいる…
<0148> I fell asleep before I knew it.
// 俺はいつのまにか、眠ってしまっていた。
<0149> .........
// ………。
<0150> ......
// ……。
<0151> ...
// …。
<0152> \{\m{B}} "..............."
// \{\m{B}}「……………」
<0153> \{Kotomi} "Are you awake now?"
// \{ことみ}「目が覚めた？」
<0154> Kotomi who's sitting on the floor was gazing at me.
// 床に座ったままのことみが、俺のことを見ていた。
<0155> \{\m{B}} "It seems I was dreaming."
// \{\m{B}}「夢を見てた気がする…」
<0156> \{\m{B}} "Was it a scary dream?"
// \{\m{B}}「こわい夢？」
<0157> \{\m{B}} "Not really scary..."
// See SEEN4505 Line 531 to have an idea why 'Not really scary...' -DGreater1
// Alt - "Not exactly scary..." - Kinny Riddle
// \{\m{B}}「恐いというより…」
<0158> \{\m{B}} "I wonder what was it? I can't remember."
// \{\m{B}}「なんだろうな？覚えてない」
<0159> \{Kotomi} "Is that so...?"
// \{ことみ}「そうなんだ…」
<0160> She stares at me as if I'm still having a dream.
// Has consistency with the First sentence of SEEN4505 Line 533
// まだ夢見心地の俺をじーっと見詰めている。
<0161> There was a closed book on her lap.
// Consistency with SEEN4505 Line 534
// 膝の上の本は閉じられていた。
<0162> Perhaps, she's already finished reading.
// Consistency with SEEN4505 Line 535
// 多分もう、読み終わっていたんだろう。
<0163> \{\m{B}} "I'm sorry."
// Consistency with SEEN4505 Line 536
// \{\m{B}}「ごめんな」
<0164> \{Kotomi} "Not at all."
// Consistency with SEEN4505 Line 538
// \{ことみ}「ううん」
<0165> \{Kotomi} "You see... I like watching \m{B}-kun sleep."
// Consistency with SEEN4505 Line 539
// \{ことみ}「私ね、眠ってる\m{B}くんを見るの、好きなの」
<0166> \{\m{B}} "Me too, I like to sleep where Kotomi is."
// Consistency with SEEN4505 Line 540
// \{\m{B}}「俺もことみのいるところで寝るのが好きだしな」
<0167> I returned my gaze and make a stretch as I sit.
// Consistency with SEEN4505 Line 541
// 座ったまま伸びをして、視線を巡らせる。
<0168> The inclining evening sunlight dyes the library books with expressionless color.
// Consistency with SEEN4505 Line 542
// 傾いた夕暮れの陽射しが、図書室の本たちを無表情に染めあげている。
<0169> \{\m{B}} "Hey, Kotomi, shall we go home now?"
// \{\m{B}}「なあことみ、そろそろ帰るか」
<0170> \{Kotomi} "Yup."
// \{ことみ}「うん」
<0171> She immediately understand when I told her and then she honestly nod.
// Consistency with SEEN4505 Line 569
// Alt - She understood at once what I just said, and she nodded honestly. - Kinny Riddle
// そう言われるとわかっていたんだろう。素直に頷いた。
<0172> \{Kotomi} "Today was really fun."
// \{ことみ}「今日はとっても楽しかったの」
<0173> \{Kotomi} "It was really, really fun."
// \{ことみ}「とってもとっても楽しかったの」
<0174> She repeated those words as if making sure.
// たしかめるように、言葉を重ねる。
<0175> \{\m{B}} "Is that so? That's good then."
// \{\m{B}}「そうか、よかったな」
<0176> I have no complaints as long as Kotomi had fun.
// ことみが楽しかったのなら、俺には何の文句もない。
<0177> \{Kotomi} "\m{B}-kun."
// \{ことみ}「\m{B}くん」
<0178> \{\m{B}} "Hmm?"
// \{\m{B}}「ん？」
<0179> Kotomi didn't say anything for a while.
// ことみはしばらく、何も言わなかった。
<0180> Her face had an expression somewhere that says she's in deep thought.
// どこか思い詰めたような顔だった。
<0181> She slowly stands up, walks at the west side window and there, she slowly turns to face me.
// すっと立ち上がると、西側の窓辺まで歩き、そこでゆっくりと振り向いた。
<0182> \{Kotomi} "You know, it was really, really fun."
// \{ことみ}「私ね、とってもとっても楽しかったの」
<0183> \{Kotomi} "When \m{B}-kun came here in the library, everyday became really fun."
// \{ことみ}「\m{B}くんが図書室に来てくれてから、毎日がほんとに楽しかったの」
<0184> \{Kotomi} "I made some friends, and I was also able to play a violin again."
// \{ことみ}「お友達ができて、ヴァイオリンもまた弾けたの」
<0185> \{Kotomi} "I am really happy when \m{B}-kun came."
// \{ことみ}「\m{B}くんが来てくれたから、とっても幸せだったの」
<0186> \{\m{B}} "There will be more fun things from now on."
// \{\m{B}}「これからだって、いろいろ楽しいことがあるぞ」
<0187> \{Kotomi} "No..."
// \{ことみ}「ううん…」
<0188> She interrupted my words there.
// そこで、言葉が途切れた。
<0189> It's hard to read Kotomi's expression, which is hidden in the backlight.
// 逆光の中で、ことみの表情は読み取りにくい。
<0190> The lining bookshelves with tens and thousands of book bindings.
// Line 190 to 191 isn't making any sense to me at all >_< -DGreater1
// Alt - Lined up in front of us were a row of bookshelves with tens of thousands of books. - Kinny Riddle
// 立ち並ぶ書棚、何万冊という本の背表紙。
<0191> It's as if everything had been protecting Kotomi.
// Alt - They stood as though they were all protecting Kotomi - Kinny Riddle
// 全てがことみを守っているように見えた。
<0192> \{Kotomi} "You know, today, I have something I must tell \m{B}-kun."
// \{ことみ}「今日はね、\m{B}くんに言わなければいけないことがあるの」
<0193> \{Kotomi} "I have to study much more than what I have been doing now."
// \{ことみ}「私、今よりもっともっと、勉強しなければいけないの」
<0194> \{Kotomi} "If I don't, I won't turn into a splendid person."
// \{ことみ}「そうしないと、立派な人になれないから」
<0195> It was sudden, but I noticed that her shoulder trembled when she said '\bsplendid person.'\u
// 『立派な人』と言った時、ことみの肩がぴくりと震えた気がした。
<0196> \{\m{B}} "Is that so...?"
// \{\m{B}}「そうか…」
<0197> \{\m{B}} "Well, I'm not going to be of any help, but I'll be here to support you."
// \{\m{B}}「まあ直接は手伝えないけどさ、俺も応援するぞ」
<0198> \{\m{B}} "But I think you can enter any university with just a little study..."
// \{\m{B}}「おまえなら、ちょっと勉強すれば大学どこでも入れるだろうし…」
<0199> \{Kotomi} "That's not it..."
// \{ことみ}「そうじゃないの」
<0200> She shakes her head in a slow manner.
// 力なく首を振る。
<0201> \{Kotomi} "Right now... it's far from enough."
// \{ことみ}「今のままだと、とても足りないの」
<0202> \{Kotomi} "Everyday, everyday... all throughout the day, and even if I study for ten years, it still might not be enough."
// \{ことみ}「毎日毎日、一日中、何十年も勉強しても、足りないかもしれないの」
<0203> \{Kotomi} "That's why..."
// \{ことみ}「だから…」
<0204> \{Kotomi} "I decided... that I wouldn't meet \m{B}-kun from now on."
// \{ことみ}「\m{B}くんとは、もう会わないって決めたの」
<0205> That's what Kotomi said.
// ことみは、そう言った。
<0206> I completely didn't understand what she meant by that.
// それが何を意味するのか、とっさにわからなかった。
<0207> The sudden words was too much for me.
// あまりにも、唐突な言葉だった。
<0208> She wouldn't meet with me anymore...?
// 俺には、もう会わない…？
<0209> Those words finally became reality, and like sand falling from the ceiling, something big began.
// 言葉はやがて事実となって、天井から砂がこぼれるように、重くのしかかってきた。
<0210> Kotomi just stayed silent, biting into her lips as she hangs her head down.
// ことみはただ黙ったまま、唇を噛みしめ、じっとうつむいている。
<0211> Kotomi was saying that it was really painful to be serious about this.*
// ことみが本気すぎるほど本気なのは、痛いほど伝わってきた。
<0212> Why is it that she started saying those things, this day of all days... I don't understand...
// どうして今日になって、ことみがそんなことを言い出したのか、俺にはわからない。
<0213> But, if Kotomi has a reason for walking alone then...
// ただ、ことみにたしかな目標があって、ひとりで歩いていこうとするなら…
<0214> I have no reason to object...
// 俺が反対する理由は何もなかった。
<0215> \{\m{B}} "Alright then."
// \{\m{B}}「わかった」
<0216> \{\m{B}} "If you're going to say so then, I won't meet you anymore either."
// \{\m{B}}「おまえがそこまで言うんなら、俺ももう、会わないことにする」
<0217> I said that, never looking at her face.
// ことみの顔を見ずに、俺はそう言った。
<0218> This time with my own words, I understood burying myself.*
// Alt - I realize I was burying myself with my own words. - Kinny Riddle
// 今度は自分の言葉が、自分を埋めようとするのがわかった。
<0219> Maybe it became like this just because I wasn't thinking properly.
// 俺が考えなしだっただけで、こうなるのも当然かもしれない。
<0220> To start with... the school's number one honor student, and the number one delinquent going out with each other...
// もともと、学校一の優等生と不良学生の付き合いだ。
<0221> There wasn't any balance...
// 釣り合うわけがなかった。
<0222> No... I should stop thinking like that.
// …いや、そんな風に考えるのはやめよう。
<0223> To treasure the short but fun days I spent with Kotomi, from now and onward.
// 短かかったけれど楽しかったことみとの毎日を、これからも大切にするために。
<0224> \{\m{B}} "I'm sure you'll be fine even without me."
// \{\m{B}}「俺がいなくても、きっと大丈夫だ」
<0225> \{\m{B}} "You're a hard worker, that's why I'm sure you'll turn into a \bsplendid person\u more than anyone else."
// \{\m{B}}「おまえは頑張り屋だからさ、きっと誰よりも立派な奴になれるぞ」
<0226> I said it in a lively manner as if to cheer her.
// 努めて明るく言ってやる。
<0227> \{\m{B}} "Let me escort you to the usual place."
// Couldn't come up with a proper TL that will maintain 'saigo ni' -DGreater1
// Alt - "Allow me to escort you to the usual place for the last time." - Kinny Riddle
// \{\m{B}}「最後に、いつものところまで送るな」
<0228> She quietly shakes her head.
// ことみは静かに首を振った。
<0229> \{Kotomi} "I'll go home by myself."
// \{ことみ}「私、一人で帰れるから」
<0230> \{Kotomi} "Since I've been doing that up until now..."
// \{ことみ}「今までもずっと、そうしてきたから…」
<0231> \{\m{B}} "I see..."
// \{\m{B}}「そっか…」
<0232> I stand up and head to the library entrance.
// 俺は立ち上がり、図書室の戸口に向かった。
<0233> I slowly put my hand on the sliding door.
// 引き戸にそっと手をかける。
<0234> \{\m{B}} "Good luck, Kotomi."
// \{\m{B}}「頑張れよ、ことみ」
<0235> My voice was hollow when I said those words.
// 自分の声が、虚ろに言った。
<0236> But... I managed to show her the '\bOutside World'\u, even if it's just for a little bit.
// ただ…ほんの少しでも、ことみに『外の世界』を見せてやれた。
<0237> That thing was enough. I persuaded myself with that.
// それだけで十分だ。そう自分に言い聞かせた。
<0238> \{Kotomi} "\m{B}-kun, goodbye."
// \{ことみ}「\m{B}くん、さよなら」
<0239> That's the only thing I heard in the end.
// 最後に、それだけ聞こえた。
<0240> And then, I left the library.
// 俺は図書室を後にした。
<0241> And think that I shouldn't come here ever again.
// Alt - I realized I would never step foot in here ever again. - Kinny Riddle
// ここに来ることは、もう二度とないだろうと思った。
</pre>
</div>

Talk:Clannad:SEEN4800

2007-10-18T08:53:32Z

Dgreater1: Alternate TL

<div class="clannadbox">
<pre>
// Resources for SEEN4800.TXT

#character 'Kotomi'
// 'ことみ'
#character '＊Ｂ'
#character 'Kyou'
// '杏'

<0000> Kotomi Epilogue
// ことみエピローグ
<0001> We found Kotomi in the sunlight of summer.
// 夏の陽射しの中に、ことみの姿を見つけた。
<0002> Leaning against the gatepost with a hopeful look, she brought her eyes upon the shimmering haze coming from the road.
// 門柱にもたれかかって、人待ち顔で、陽炎の立つ路面に瞳を向けていた。
<0003> The white one-piece swayed from the midsummer breeze.
// 吹き渡っていく真夏の風に、白いワンピースが揺れる。
<0004> Seems she had grown a little bit.
// 少し大人っぽくなった。
<0005> I wonder if that feeling is because of me?
// そう感じるのは、俺の気のせいだろうか？
<0006> \{Kotomi} "Ah..."
// \{ことみ}「あっ…」
<0007> Finding me, her expression became a smile.
// 俺を見つけると、笑顔に変わる。
<0008> \{Kotomi} "Good afternoon, \m{B}-kun."
// \{ことみ}「\m{B}くん、こんにちは」
<0009> The usual greeting I'm used to hearing.
// 聞き慣れた、いつもの挨拶。
<0010> \{\m{B}} "Yeah. Afternoon."
// \{\m{B}}「ああ。こんにちは」
<0011> After that, she turned towards Kyou.
// それから、杏に向き直る。
<0012> \{Kotomi} "Kyou-chan, good afternoon."
// \{ことみ}「杏ちゃん、こんにちは」
<0013> \{Kyou} "Sorry to keep you waiting. I made sure to hold onto this well so that it doesn't fall this time."
// \{杏}「お待たせ。今度はちゃーんと落とさないで持ってきたわよ」
<0014> Kyou was holding onto a violin case.
// 杏が提げていたのは、ヴァイオリンケースだった。
<0015> Three months had passed since the day it had broken.
// 壊れてしまったあの日から、三ヶ月が経っていた。
<0016> That's how difficult the repair was.
// それだけ大変な修理だった。
<0017> Even the stubborn old man from the music shop had a lot of things to say about it.
// 楽器屋の頑固親父も、口では色々言いながら本当によくしてくれた。
<0018> In addition, he had a lot of people help him out.
// 他にもたくさんの人が、手を貸してくれた。
<0019> And today, he came back with the violin.
// そして今日、ヴァイオリンは戻ってきた。
<0020> To bring it to its appropriate owner.
// ふさわしい持ち主に贈られるために。
<0021> Kotomi's glance sprinkled upon the violin case.
// ことみの視線がヴァイオリンケースに注がれる。
<0022> \{Kyou} "You still have to wait a bit."
// \{杏}「まだおあずけよ」
<0023> \{Kotomi} "........."
// \{ことみ}「………」
<0024> \{Kotomi} "Kyou-chan, you're a bully."
// \{ことみ}「杏ちゃんの、いじわる」
<0025> She pouted like a puppy.
// 子犬みたいに、すねてみせる。
<0026> \{Kyou} "Just awe and look forward to it. You'll definitely be surprised when you play it."
// \{杏}「うーんと期待してなさい。弾いたらきっと、びっくりするんだから」
<0027> \{Kotomi} "I'm really looking forward to it."
// \{ことみ}「とっても楽しみなの」
<0028> \{Kotomi} "I'll also be waiting with the violin claim check in hand."
// \{ことみ}「ヴァイオリン引換券も、ちゃんと持ってるの」
<0029> \{Kyou} "Let's hurry up and finish this up. It'll be bad if the wind blows it away."
// \{杏}「いいからまだしまっときなさい。風で飛んだら大変だから」
<0030> \{\m{B}} "The others are off to buy some things."
// \{\m{B}}「他の連中、買い出しに行ってるからな」
<0031> \{\m{B}} "In thirty minutes they'll be back, and then we'll start."
// \{\m{B}}「３０分ぐらいで戻ってくるから、そうしたら始めよう」
<0032> \{Kotomi} "Yup. I also made some sweets."
// \{ことみ}「うん。私もお菓子、つくったから」
<0033> \{\m{B}} "... you didn't make too much, did you?"
// \{\m{B}}「…作りすぎてないよな？」
<0034> \{Kotomi} "Umm..."
// \{ことみ}「ええと…」
<0035> \{Kotomi} "I might have made a little bit too much."
// \{ことみ}「ちょっとだけ、つくりすぎちゃったかも」
<0036> \{\m{B}} "Again...?"
// \{\m{B}}「またかよ…」
<0037> \{Kyou} "Just today, no matter how much it is, it'll be fine."
// \{杏}「今日だけは、いくらあっても大丈夫よ」
<0038> \{\m{B}} "You'll eat it all because you're congratulating her?"
// \{\m{B}}「めでたいからおまえが全部食うのか？」
<0039> \{Kyou} "I sit down at this every once in a while. Everyone will be celebrating."
// \{杏}「一応あたし、招集かけといたから。カンパしてくれたメンバー全員」
<0040> \{\m{B}} "Everyone?! Hey, that'll mean there'll be a lot of people, you know?!"
// \{\m{B}}「全員！？っておまえそれ、ものすごい数になるだろ？」
<0041> \{Kyou} "We went through the ceremony after all, so making it grand is better, isn't it?"
// \{杏}「せっかくの贈呈式なんだから、盛大な方がいいでしょ？」
<0042> \{\m{B}} "Hey, why you..."
// \{\m{B}}「っておまえなあ…」
<0043> \{Kotomi} "It'll be fine."
// \{ことみ}「だいじょうぶなの」
<0044> \{Kotomi} "My garden is wide, after all."
// \{ことみ}「私のお庭は、広いから」
<0045> She gave a sweet smile.
// にっこりと笑った。
// gain Kotomi's light, return to main menu
</pre>
</div>

Talk:Clannad:SEEN4513

2007-10-18T08:47:11Z

Dgreater1: Alternate TL

<div class="clannadbox">
<pre>
// Resources for SEEN4513.TXT

#character 'Ryou'
// '椋'
#character 'Kotomi'
// 'ことみ'
#character 'Kyou'
// '杏'
#character 'Furukawa'
// '古河'
#character '＊Ｂ'
#character 'Voice'
// '声'
#character 'Teacher'
// '教師'
#character 'Everyone'
// '全員'
#character 'Man'
// '紳士'

<0000> Kotomi
// ことみ
<0001> And then...
// そして…
<0002> I waited for Kotomi by the school gate.
// 校門の脇で、ことみを待っていた。
<0003> Kyou, Fujibayashi, and Furukawa were also there.
// 杏も、藤林も、古河もいた。
<0004> Everyone held their bags, leaning against the wall, waiting for Kotomi.
// みんなで鞄を提げたまま、壁にもたれて、ことみが来るのを待っていた。
<0005> \{Ryou} "Ah..."
// \{椋}「あ…」
<0006> Fujibayashi pointed up just ahead.
// 藤林が指さした、その先。
<0007> The usual bag, the usual hair ornaments, and the usual quick pacing.
// いつもの鞄、いつもの髪飾り、いつものすこし早足の歩幅。
<0008> Kotomi rose up the slope, as if it were a normal morning.
// 当たり前の朝のように、ことみが坂を登ってきた。
<0009> \{Kotomi} "Ah..."
// \{ことみ}「あっ…」
<0010> Noticing us, she quickly rushed over.
// こちらに気がついて、小走りに寄ってくる。
<0011> \{Kyou} "Morning."
// \{杏}「おはよ」
<0012> \{Ryou} "Good... morning."
// \{椋}「おはよう…です」
<0013> \{Furukawa} "Good morning."
// \{古河}「おはようございます」
<0014> \{\m{B}} "Morning, Kotomi."
// \{\m{B}}「おはよう、ことみ」
<0015> \{Kotomi} "........."
// \{ことみ}「………」
<0016> Strangely inclining her head, she stared at us.
// 不思議そうに首を傾けて、ゆっくりと俺たちのことを見わたす。
<0017> And then, she bowed.
// そして、ぺこりとお辞儀をした。
<0018> \{Kotomi} "Good morning to everyone."
// \{ことみ}「みんな、おはようなの」
<0019> \{Kotomi} "Were you waiting for me?"
// \{ことみ}「私を待っててくれたの？」
<0020> \{Kyou} "O'course."
// \{杏}「とーぜん」
<0021> \{Kotomi} "?"
// \{ことみ}「？」
<0022> \{\m{B}} "Today's your birthday, isn't it?"
// \{\m{B}}「今日はおまえの誕生日だろ？」
<0023> \{Kotomi} "Ah... that's right."
// \{ことみ}「あっ…そっか」
<0024> \{Kotomi} "I had completely forgotten."
// \{ことみ}「私、すっかり忘れてたの」
<0025> \{Kyou} "And, we wanted to have a present..."
// \{杏}「それでね、プレゼントなんだけど…」
<0026> Saying that, she nudged Furukawa with her elbow.
// 言いながら、古河を肘で小突く。
<0027> \{Kyou} "... Miss President, did you make it?"
// \{杏}「…部長、作ってきた？」
<0028> \{Furukawa} "Ah, yes! But, my drawings aren't that great, I don't really have any confidence in it..."
// \{古河}「あっはい。でも、絵が下手なので、あまり自信がないです…」
<0029> \{Kyou} "Well, here's our presentation~"
// \{杏}「それじゃ、贈呈式～」
<0030> Furukawa digs around her bag for something, and brings it to Kotomi.
// 古河が鞄からなにかを取り出し、ことみに手渡した。
<0031> It was a long and narrow piece of paper, much like a movie ticket.
// それは、映画のチケットみたいに細長い紙だった。
<0032> Drawn on the left-hand side of the paper was a light-brown, gourd-shaped body.
// 紙の左半分には、茶色いひょうたん状の物体が描かれていた。
<0033> I'm sure she intended on drawing a violin.
// 描いた本人はきっとヴァイオリンのつもりだろう。
<0034> And on the four corners, were the dango wasting around, having their fun.
// そして紙の四隅では、だんごたちが無駄に楽しげに踊っていた。
<0035> \{Kotomi} "The Big Dango Family?"
// \{ことみ}「だんご大家族？」
<0036> \{Furukawa} "That's right, it's the Big Dango Family."
// \{古河}「そうです、だんご大家族です」
<0037> \{Kyou} "Wro----ng!"
// \{杏}「ちっがーうっ！」
<0038> \{Kyou} "Actually, please don't add some weird illustartions into there on your own!"
// \{杏}「っていうか変なイラストを勝手に追加しないで頼むからっ」
<0039> \{Furukawa} "It's not a strange illustration! It's the Big Dango Family!"
// \{古河}「変なイラストじゃないです、だんご大家族です」
<0040> \{Furukawa} "The dango want to wish Kotomi-chan a happy birthday!"
// \{古河}「だんごたちも、ことみちゃんの誕生日をお祝いしたいんです」
<0041> \{Ryou} "Happy birthday, Kotomi-chan."
// \{椋}「ことみちゃん、お誕生日おめでとうです」
<0042> \{Kotomi} "Thank you so much, Ryou-chan."
// \{ことみ}「椋ちゃん、とってもありがとう」
<0043> \{Kotomi} "Thank you so much, Nagisa-chan."
// \{ことみ}「渚ちゃん、とってもありがとう」
<0044> \{Kotomi} "Also give my thanks to the dango."
// \{ことみ}「だんごさんたちも、とってもありがとう」
<0045> \{Ryou} "Now, a magnificent applause~..."
// \{椋}「それでは盛大な拍手を～…」
<0046> Clap, clap, clap, clap, clap.
// ぱちぱちぱちぱちぱち。
<0047> Only those three go crazy on their clapping, in their so happpy boke-only circle.
// 三人だけで盛り上がる、とっても幸せそうなボケオンリーサークル。
<0048> \{Kyou} "Hey, stop ignoring the entire ceremony programme!"
// \{杏}「って段取りを全部無視して式を進めるなあっ！」
<0049> Kyou comes exploding in from the morning with a high-speed tsukkomi in all directions.
// 朝から炸裂する、杏の全方位高速ツッコミ。
<0050> \{Kyou} "It's not a drawing, hurry up and read the contents!"
// \{杏}「絵じゃなくてちゃんと文面を読んで、ほらっ」
<0051> She holds onto Kotomi's head, who then takes a peek inside the paper.
// ことみの頭をわしっと捕まえ、紙を覗きこませる。
<0052> It's like fradulent recruitment, catching some seriously boke girl and forcing her into signing some contract against her will.
// マジボケの少女を捕まえ契約書に無理矢理サインさせる、新手の悪徳商法のようだった。
<0053> \{Kotomi} "Umm..."
// \{ことみ}「ええと…」
<0054> \{Kotomi} "Violin Present Ticket."
// \{ことみ}「ヴァイオリンプレゼント券」
<0055> \{Kotomi} "Exclusively for Ichinose Kotomi."
// \{ことみ}「一ノ瀬ことみ専用」
<0056> \{Kotomi} "Expiry date infinite..."
// \{ことみ}「引き替え期間、無期限…」
<0057> \{Kotomi} "........."
// \{ことみ}「………」
<0058> She strangely holds the paper up to the sun.
// 不思議そうに、紙を太陽にかざす。
<0059> \{Kotomi} "???"
// \{ことみ}「？？？」
<0060> For many days she's had those question marks up there.
// ひさびさの、ハテナ三本だった。
<0061> \{Kyou} "Truth is, we should have brought the real thing."
// \{杏}「ほんとは、実物をプレゼントできるはずだったんだけどね」
<0062> \{Furukawa} "I'm sorry..."
// \{古河}「すみません…」
<0063> \{Ryou} "Umm... I'm also sorry."
// \{椋}「えっと…私も、すみません」
<0064> And then, everyone told the truth.
// そして、みんなで正直に話した。
<0065> About how they officially received the violin from the owner.
// あのヴァイオリンを、持ち主から正式に譲り受けたこと。
<0066> And about how the violen ended up breaking.
// でも、ヴァイオリンが壊れてしまったこと。
<0067> Right now it's off for repairs, and we don't know how long it's going to take.
// 今、修理に出していて、どのぐらい時間がかかるかわからない。
<0068> But, it'll definitely be as before, so we'd like her to wait until then...
// でも、必ず元通りにするから、それまで待っていてほしい…
<0069> Kotomi listened carefully...
// ことみは、じっと聞いていて…
<0070> \{Kotomi} "Okay!"
// \{ことみ}「うんっ」
<0071> She nods.
// こくりと頷いた。
<0072> \{Kotomi} "I'll be waiting."
// \{ことみ}「私、待ってる」
<0073> \{Kotomi} "I'm really looking forward to it."
// \{ことみ}「とっても、楽しみ」
<0074> She really seemed happy, looking at the homemade "Violin Present Ticket".
// 手作りの『ヴァイオリンプレゼント券』を、本当に嬉しそうに見つめる。
<0075> \{Kotomi} "Were you hurt at all Nagisa-chan, Ryou-chan?"
// \{ことみ}「渚ちゃん、椋ちゃん、怪我しなかった？」
<0076> \{Furukawa} "I'm fine, and quite alive."
// \{古河}「大丈夫です。ぴんぴんしています」
<0077> \{Ryou} "Umm... I'm also fine."
// \{椋}「えと…私も、大丈夫です」
<0078> \{Kotomi} "I'm glad."
// \{ことみ}「よかった」
<0079> \{Kotomi} "I really am."
// \{ことみ}「ほんとに、よかった」
<0080> Thinning her eyes, she smiled sweetly.
// 目を細め、にっこりと笑う。
<0081> \{Kotomi} "Umm..."
// \{ことみ}「ええとね…」
<0082> \{Kotomi} "Umm, I..."
// \{ことみ}「ええとね、私ね…」
<0083> And then Kotomi spoke the truth.
// そして、ことみも正直に話した。
<0084> About how her parents were really splendid scientists.
// 両親が立派な科学者だったこと。
<0085> About how they got into an airplane accident when she was a child.
// 子供のころ、飛行機事故でいなくなってしまったこと。
<0086> About how it was so hard for her back then.
// その時に、とても辛い思いをしたこと。
<0087> And about why right now she doesn't know what to do herself if someone close to her were to disappear...
// だから今も、大切な人がいなくなってしまうと思うと、自分でもどうしたらいいかわからなくなってしまうこと…
<0088> Everyone remained silent, listening to her.
// みんな黙って、ことみの話を聞いていた。
<0089> \{Kyou} "Wha~t, so that's what it was?"
// \{杏}「なーんだ、そんなことだったんだ」
<0090> \{\m{B}} "What's with the 'wha~t'...?"
// \{\m{B}}「なーんだって、おまえ…」
<0091> Without thinking I spit that out at that composed smile of hers.
// 思わず食ってかかった俺を、余裕の笑顔で見返す。
<0092> \{Kyou} "Because, I wouldn't forget Ryou either if she were to die, right?"
// \{杏}「だって、死んじゃったぐらいで、椋もあたしも忘れるわけないでしょ？」
<0093> \{Kyou} "Even though I can't see her, she'll always be close, and if some useless evil spirit comes around, I'll beat the crap out of them."
// \{杏}「見えなくてもずっと近くにはりついて、しょうもない悪霊とか来たらぶっ飛ばしてあげるから」
<0094> Kyou always answers back full of confidence.
// いつでも自信たっぷりの、杏らしい答えだった。
<0095> \{Ryou} "About that... onee-chan may be quite capable, but I'm not that strong so..."
// \{椋}「それ…お姉ちゃんならできそうだけど、私はそんなに強くないから…」
<0096> \{Ryou} "Well... I... um..."
// \{椋}「だから…私は…あの…」
<0097> \{Ryou} "I guess I'd be by you, Kotomi-chan..."
// \{椋}「やっぱりことみちゃんのそばにいて…」
<0098> \{Ryou} "Something like, trying to tell you something good, and maybe, it'd be nice if I could tell you, or something..."
// \{椋}「今日はちょっといいことありそう、なんて、教えてあげられたらいいなって…」
<0099> An answer expected of Fujibayashi, easily liking fortunes.
// 占い好きでやさしい、藤林らしい答えだった。
<0100> Next was Furukawa's turn to talk.
// さらに古河はと言えば。
<0101> \{Furukawa} "Sniff... I have no idea..."
// \{古河}「ぐずっ…わたしぜんぜん知らなぐで…」
<0102> \{Furukawa} "Like... the Big Dango Family saying things without thinking, like let's be friends or something..."
// \{古河}「だんご大家族とかみんな仲良しとか、なにも考えずに言っでしまって…」
<0103> She was completely moved to tears.
// ひたすら涙ぐんでいた。
<0104> Seems Kotomi's story about her childhood was just on the same level.
// ことみの子供の頃の話が、ツボにはまったらしい。
<0105> \{Furukawa} "But... there's no way I'd forget about you, Kotomi-chan..."
// \{古河}「でも…わたしも絶対、ことみちゃんのことを忘れたりしないですっ…」
<0106> \{Furukawa} "Perhaps you might not notice me but... but, I'll definitely get close, until you notice me..."
// \{古河}「もしかしたら、気づいてもらえないかもしれませんが…でも、ずっと近くで、気づいてもらえるまで…」
<0107> \{Furukawa} "... sniff, I'll do my best!"
// \{古河}「…ぐすっ、がんばりますっ」
<0108> \{\m{B}} "For now, stop with the tears. You'll make yourself feel worse."
// \{\m{B}}「とりあえず泣き止めよ。景気悪くなるから」
<0109> \{Furukawa} "Okay. I'm sowwy..."
// \{古河}「はいっ。すびばせん…」
<0110> As her eyes remained tearful, she brought out a handkerchief.
// 瞳をうるうるさせたまま、ハンカチを取り出す。
<0111> Kotomi was beside Kyou, thinking of something and smiling.
// 杏の横で、ことみはなにやら思い出し笑いしていた。
<0112> \{Kyou} "... hey, what are you smiling about?"
// \{杏}「…ってなにニヤニヤしてるのよ？」
<0113> \{Kotomi} "Everyone, even \m{B}-kun, was thinking of the same thing."
// \{ことみ}「\m{B}くんも、みんなとおんなじこと言ったの」
<0114> \{Kotomi} "About if they disappeared, they'd always be with me."
// \{ことみ}「いなくなっても、ずっとそばにいてくれるって」
<0115> \{Kotomi} "About even if they can't be seen, they'd be as close as they could be."
// \{ことみ}「見えなくなってしまっても、いちばん近くで見ていてくれるって」
<0116> \{Kotomi} "And after that, a very gentle ki..."
// \{ことみ}「それからね、とってもやさしくキ…」
<0117> \{\m{B}} "Hey, stop it you idiot!"
// \{\m{B}}「ってやめろバカっ！」
<0118> \{Kotomi} "Ah..."
// \{ことみ}「あっ…」
<0119> She hastily closed her mouth, but it was too late.
// あわてて口をつぐんだが、遅い。
<0120> \{Kyou} "...... ki?"
// \{杏}「……キ？」
<0121> \{Ryou} "...... ki?"
// \{椋}「……キ？」
<0122> \{\m{B}} "Ki......"
// \{\m{B}}「キ……」
<0123> \{\m{B}} "North fox (kita kitsune)."
// \{\m{B}}「キタキツネ」
<0124> \{Kotomi} "Cat (neko)."
// \{ことみ}「ネコ」
<0125> \{\m{B}} "Koala (koara)."
// \{\m{B}}「コアラ」
<0126> \{Kotomi} "Camel (rakuda)."
// \{ことみ}「ラクダ」
<0127> \{\m{B}} "Da..."
// \{\m{B}}「ダ…」
<0128> \{\m{B}} "Dalmatian (darumeshian)."
// \{\m{B}}「ダルメシアン」
<0129> \{\m{B}} "........."
// \{\m{B}}「………」
<0130> \{Kotomi} "........."
// \{ことみ}「………」
<0131> Everything was over.
// 終わった、何もかも。
<0132> \{Ryou} "........."
// \{椋}「………」
<0133> \{Kyou} "........."
// \{杏}「………」
<0134> The twins stabbed a very frightening glance at us without mercy.
// ものすごくなにか言いたげな双子の視線が、容赦なく俺たちに突き刺さる。
<0135> \{Ryou} "Uh... umm..."
// \{椋}「え…えと…」
<0136> \{Kyou} "You two are really screwing around together pretty well..."
// \{杏}「二人で仲良くごまかすんだあ…」
<0137> \{\m{B}} "........."
// \{\m{B}}「………」
<0138> \{Kotomi} "........."
// \{ことみ}「………」
<0139> \{Kyou} "Well then, today after school we'll have karaoke for Kotomi's birthday party."
// \{杏}「それじゃ、今日は放課後カラオケでことみの誕生パーティーね」
<0140> \{Kyou} "You should know that you should re~ally let us hear you, okay?"
// \{杏}「詳しいことは、その時にじ～っくり聞かせてもらうからねー」
<0141> \{Kyou} "By the way, I'm the crack detective."
// \{杏}「ちなみにあたしは鬼刑事役だから」
<0142> \{Ryou} "I'm going to be the weak-minded detective."
// \{椋}「私は、気の弱い刑事の役で」
<0143> \{\m{B}} "Don't call yourself a weak-minded detective."
// \{\m{B}}「刑事が自分で気の弱いって言うな」
<0144> \{Furukawa} "Sniff... umm, I guess I'll be the Evil Drama Club President...?"
// \{古河}「ぐすっ…あの、やっぱりわたしは、悪の演劇部長なんでしょうか…」
<0145> \{Kyou} "Right, right, let's get to the school now. We'lll continue this at lunch..."
// \{杏}「はいはい、そろそろ校舎に入るわよ。続きは昼休みに…」
<0146> \{Voice} "Ichinose-san? I've finally found you..."
// \{声}「一ノ瀬さんっ？やっと見つけた…」
<0147> We turned towards the abrupt voice.
// 不意に声をかけられて、俺たちは振り向いた。
<0148> It was the homeroom teacher of class A.
// Ａ組の担任教師だった。
<0149> \{Teacher} "So you were here, huh? It's been really difficult looking for you."
// \{教師}「こんなところにいたのね。ずいぶん探したんだけど」
<0150> \{Kyou} "Sorry, we're busy with a lot of stuff."
// \{杏}「すみませーん、色々取り込んでたものですから」
<0151> Kyou tactfully says.
// 杏が如才なく言う。
<0152> The homeroom teacher of class A rushes over to Kotomi while out of breath.
// Ａ組の担任は、息を切らしたままことみに駆け寄ってきた。
<0153> \{Teacher} "Your guardian arrived just now."
// \{教師}「今ね、あなたの後見人さんが、お見えになってるんだけど」
<0154> \{Teacher} "He had urgent business, so would you mind meeting him immediately?"
// \{教師}「緊急の用件ってことだから、今すぐ会ってもらえる？」
<0155> Her face became cloudy hearing about her guardian.
// 後見人と聞いたとたん、ことみの表情が曇った。
<0156> I came in real quick.
// 俺にはそれでピンと来た。
<0157> \{\m{B}} "Guardian, you say...?"
// \{\m{B}}「後見人って…」
<0158> \{\m{B}} "You mean that person?"
// \{\m{B}}「あの人のことか？」
<0159> She slightly nods to my question.
// 俺が訊くと、かすかに頷いた。
<0160> Without a doubt, it was that gentleman who worked with Kotomi's parents.
// 間違いない、ことみの両親の同僚だったというあの紳士だ。
<0161> \{Kyou} "Hey, hey, could it be that bad person?"
// \{杏}「ねえねえ、それってもしかして、あの悪者のこと？」
<0162> \{\m{B}} "He's not really a bad person..."
// \{\m{B}}「別に悪者ってわけじゃないけどな…」
<0163> \{Furukawa} "What's the guardian's business?"
// \{古河}「後見人って、なんでしょう？」
<0164> \{Ryou} "Umm... he seems like a guardian... does he?"
// \{椋}「えと…保護者みたいなもの…なのかな？」
<0165> I softly look over in Kotomi's direction.
// 俺はことみの方をそっと見た。
<0166> She didn't move, as if having reached her destination.
// 途方に暮れたように、動こうとしない。
<0167> It was like she was a completely different Kotomi from the happy and joyous Kotomi up until now.
// さっきまでみんなとはしゃいでいたことみとは、別人のようだった。
<0168> \{Kyou} "You don't want to meet him?"
// \{杏}「会いたくない？」
<0169> \{Kotomi} "........."
// \{ことみ}「………」
<0170> It feels like she can't answer that.
// 返事もできない、という感じだった。
<0171> \{Kyou} "He can't meet on another day?"
// \{杏}「別の日にしてもらうわけにはいきませんか？」
<0172> \{Teacher} "Seems so. According to him, it had to be today, no matter what."
// \{教師}「ええ。あちらの言うことだと、今日でないといけないらしいの」
<0173> This business seemed to be that serious.
// それだけ重要な用件なのだろう。
<0174> And... if it were to be postponed now, it might not ever come to be ever again.
// それに…たとえ今延期してもらっても、いつかは乗り越えなければならないことだ。
<0175> \{Kyou} "........."
// \{杏}「………」
<0176> Kyou thinks of something, putting her hand to her chin.
// 顎に手をあてて、杏が何か考えている。
<0177> \{Kyou} "... I'm sorry, sensei,"
// \{杏}「…すみません、先生」
<0178> \{Kyou} "We'll also be sitting in, so please bring that person over to the drama clubroom."
// \{杏}「あたしたちも同席しますから、その人に演劇部室まで来てもらって下さい」
<0179> \{\m{B}} "Hey Kyou, you know, no matter how much..."
// \{\m{B}}「って杏、おまえそりゃいくらなんでも…」
<0180> \{Teacher} "But you know, there's the concern of Ichinose-san's privacy..."
// \{教師}「でもねえ、一ノ瀬さんのプライバシーに関わることだし…」
<0181> As expected, the class A homeroom teacher frowned upon that.
// Ａ組の担任もさすがに渋い顔をした。
<0182> \{Furukawa} "Umm... could I also come as well?"
// \{古河}「えっと…わたしも一緒に行っていいでしょうか？」
<0183> \{\m{B}} "Actually, wouldn't it be strange for the president to be missing in this situation?"
// \{\m{B}}「つーか、部長がいないとおかしいだろ、この場合」
<0184> \{Ryou} "O-onee-chan, umm... could I also come?"
// \{椋}「お、お姉ちゃん、その…私も行っていい？」
<0185> \{Kyou} "All of you guys don't have to ask me for permission."
// \{杏}「あんたもいちいち許可取らなくていいの」
<0186> \{Teacher} "... Ichinose-san, would you like for everyone to come?"
// \{教師}「…一ノ瀬さんは、みんなと一緒の方がいい？」
<0187> Gazing shocked at this scene of people chit-chatting back and forth, Kotomi nodded.
// がやがやと騒ぐ取り巻きを呆れたように眺めながら、ことみに訊いた。
<0188> Kotomi nods, though it was a lot more clear than before.
// ことみはこくりと、でもさっきよりはっきりと頷いた。
<0189> \{Teacher} "Then, I guess that way might be fine."
// \{教師}「なら、その方がいいかもしれないわね」
<0190> Without saying unneeded things, the teacher quickly acknowledged.
// 余計なことは言わずに、あっさり了承してくれた。
<0191> I think she understood how delicate it is between Kotomi and that gentleman.
// ことみとあの紳士の微妙な仲のことを、わかっているのだろうと思った。
<0192> \{Teacher} "I'll try to ask him to do so, so you guys head to the drama clubroom first."
// \{教師}「先方には私からお願いしてみるから、あなたたちは演劇部室に行ってなさい」
<0193> Leaving those words, the teacher ran off to the school.
// そう言い残すと、校舎の方に走っていく。
<0194> Or so I thought, the teacher came back immediately.
// と思ったら、すぐに戻ってきた。
<0195> \{Teacher} "There's a drama clubroom?"
// \{教師}「演劇部室なんてあるの？」
<0196> \{Everyone} "........."
// \{全員}「………」
<0197> Well, that's how it is.
// まあ、そりゃそうだ。
<0198> \{Kyou} "Miss President, you explain."
// \{杏}「部長、説明して」
<0199> \{Furukawa} "Ah, okay! Umm... officially, the drama club doesn't hold any activities yet..."
// \{古河}「あっはい。えっと…演劇部は、まだ正式な部活ではないんですが…」
<0200> \{\m{B}} "You don't have to care about that. Just tell her where it is."
// \{\m{B}}「そんなことはどうでもいいから、場所だけ言えっての」
<0201> \{Furukawa} "Okay, I understand. Umm..."
// \{古河}「はい。わかりました。えっと…」
<0202> With difficulty and being uneasy with just explaining, Furukawa begins.
// 聞いている方が不安になるぐらい、たどたどしく説明を始める古河。
<0203> \{Ryou} "Kotomi-chan... are you okay?"
// \{椋}「ことみちゃん…大丈夫？」
<0204> Kotomi was gripping both her hands tightly.
// ことみは、両手をぎゅっとにぎりしめていた。
<0205> Just being by her, you could tell she was tense.
// 隣にいても、緊張しているのが伝わってきた。
<0206> \{\m{B}} "Kotomi,"
// \{\m{B}}「ことみ」
<0207> \{\m{B}} "I don't know what he has in mind but, we'll be following, so don't worry."
// \{\m{B}}「どんな用事かわからないけど、俺たちがついてるから、心配するな」
<0208> \{\m{B}} "We definitely won't let anyone make you feel bad."
// \{\m{B}}「ことみに嫌な思いをさせたり、絶対にしないから」
<0209> \{Kyou} "Yup, yup, no need to worry."
// \{杏}「そーそー、心配しなくていいの」
<0210> \{Kyou} "I wouldn't keep my mouth shut if anyone bullied you, Kotomi."
// \{杏}「ことみをいじめようとしたら、あたしがただじゃおかないから」
<0211> \{\m{B}} "Actually, please, don't cause any casualties..."
// \{\m{B}}「つーかおまえ、頼むから人死にだけは…」
<0212> \{Kyou} "If you have any complaints, I'll send you off with a shot between the eyes!"
// \{杏}「ゴチャゴチャ言うと、右目と左目の間んとこに一発お見舞いするわよっ」
<0213> \{\m{B}} "........."
// \{\m{B}}「………」
<0214> \{Kyou} "Come on, let's go!"
// \{杏}「ほら、行くわよっ」
<0215> She's already in Combat Mode.
// すでに戦闘モードだった。
<0216> \{Teacher} "Over here."
// \{教師}「こちらです」
<0217> \{Voice} "Please excuse me."
// \{声}「失礼します」
<0218> The homeroom teacher continues, with the gentleman coming into the room.
// 担任教師に続いて、あの紳士が部屋に入ってきた。
<0219> \{Teacher} "Ichinose-san... yup, she's here."
// \{教師}「一ノ瀬さん…うん、来てるわね」
<0220> \{Teacher} "And she also brought these kids with her..."
// \{教師}「それでこの子たちが、同席をお願いした…」
<0221> \{Man} "I see. Certainly feels like they're close friends."
// \{紳士}「なるほど。確かに親友一同という感じですね」
<0222> Kotomi wasn't looking at the homeroom teacher and gentleman during the time they were talking.
// 担任教師と紳士が話しこんでいる間も、ことみはそっちを見ようとしなかった。
<0223> Because Kyou had inspired the bad person idea, the drama clubroom had a complex atmosphere.
// 杏が悪者と吹き込んだせいで、演劇部室はかなり複雑な雰囲気だった。
<0224> Looking at us being like that, the gentleman bowed silently.
// そんな俺たちに向かって、紳士は深々と頭を下げた。
<0225> \{Man} "I'm Ichinose Kotomi-kun's guardian. I deeply thank you for watching her in recent days."
// \{紳士}「一ノ瀬ことみくんの後見人を拝命している者です。日頃彼女によくしてくれて、本当にありがとう」
<0226> He had a quiet, serious demeanor, when dealing with younger people.
// 年下もいいところの相手に対して、穏やかで真面目な態度だった。
<0227> \{Kyou} "... somehow, he don't seem like a bad person."
// \{杏}「…なんか、全然悪者っぽくないじゃない」
<0228> Kyou whispers to me.
// 杏が耳打ちしてきた。
<0229> \{\m{B}} "I told you he's not a bad person..."
// \{\m{B}}「だから別に悪者じゃないんだって…」
<0230> Noticing me, the gentleman gave a light smile.
// 俺のことに気づくと、紳士はかるく微笑んでくれた。
<0231> A folded jacket was on his left hand, and what appeared to be a Duralumin-made travelling bag was in his right.
// 左手には脱いで畳んだコート、右手にはジェラルミン製らしい旅行鞄を提げていた。
<0232> \{Kotomi} "Ah........."
// \{ことみ}「あっ……」
<0233> Kotomi brought up a small voice beside me.
// 俺のとなりで、ことみが小さく声をあげた。
<0234> \{Kotomi} "That..."
// \{ことみ}「それ…」
<0235> The gentleman nodded silently.
// 紳士は、無言のまま頷いた。
<0236> And then, he placed the bag he brought on top of a desk.
// そうして、持ってきた鞄を机の上にごとりと載せた。
<0237> Everyone looked there.
// その場にいた全員が、その鞄を見た。
<0238> That... was actually a bag that's been used for some time.
// それは…本当に、使い込まれた鞄だった。
<0239> The corners were dented, the gloss on the metal had faded, the plastic handle was broken, and the corners of the hinges were rusted.
// 角がへこみ、金属のつやはなくなり、持ち手のプラスチックは傷だらけで、蝶番の角は錆びてしまっている。
<0240> There's probably no way no one would use this.
// 普通に使うだけでは、ああはならないだろう。
<0241> It was as if it had been travelling in the world for years...
// 例えば、世界中を何年も旅行しなければ…
<0242> Kotomi was beside me.
// ことみは、俺のそばにいた。
<0243> I noticed her shoulders slightly trembled.
// 肩が小さく震えているのに気づいた。
<0244> As if pulling it towards herself, she came close to the bag, hesitating.
// 引き寄せられるように鞄に近づこうとして、ぎくりとためらった。
<0245> Like a wall you can't see was there.
// 見えない壁があるかのように。
<0246> Instead, she tugged hard on my uniform sleeve.
// かわりに、俺の制服の裾をぎゅっと掴んだ。
<0247> \{Kotomi} "This is, dad's bag..."
// \{ことみ}「お父さんの、かばん…」
<0248> The gentleman deeply nodded.
// 紳士は深々と頷いた。
<0249> \{Man} "It came late to the research institute late last night."
// \{紳士}「昨夜遅く、研究所に届いたんだよ」
<0250> \{Man} "Looking inside, I was able to confirm that this was indeed the bag that the professor took onto the plane."
// \{紳士}「私が中を開けて、たしかに博士が飛行機に持ち込んだものだと確認させてもらった」
<0251> \{Man} "That's why I came to tell you."
// \{紳士}「だから、君に届けに来た」
<0252> \{Man} "I thought that no matter what, it had to come to you today..."
// \{紳士}「どうしても今日、君に渡さなければと思ったからね…」
<0253> Kotomi only stared at that old and rusty bag.
// ことみはただ、古ぼけた鞄をじっと見つめていた。
<0254> During that time, she had always kept her hand on my sleeve.
// その間ずっと、俺の裾を放さなかった。
<0255> She's probably thinking of what to say to begin with, doing her best to decide that in her mind.
// 最初に何を言ったらいいのか、頭の中で一生懸命まとめているんだろうと思った。
<0256> And then Kotomi asked him.
// そしてことみは、紳士にこう訊いた。
<0257> \{Kotomi} "Was the thesis inside?"
// \{ことみ}「論文が、入ってるの？」
<0258> A voice much like a stranger, much like forcing her emotions away.
// 無理に感情を押し殺したような、他人事のような声だった。
<0259> The gentleman didn't answer.
// 紳士は何も答えなかった。
<0260> Like an expression beyond anything else, he stared at Kotomi's face.
// 例えようのない表情で、ことみの顔をじっと見つめている。
<0261> \{Man} "Kotomi-kun..."
// \{紳士}「ことみくん…」
<0262> \{Man} "Would you open the bag?"
// \{紳士}「鞄を開けてごらん」
<0263> Kotomi's body shuddered.
// ことみの身体が、ぴくっと動いた。
<0264> \{\m{B}} "Kotomi..."
// \{\m{B}}「ことみ…」
<0265> I softly placed my hand on her head.
// 俺はことみの頭に、そっと手をのせた。
<0266> What was inside the bag were articles of Kotomi's parents, who had passed away.
// 鞄の中に入っているのは、ことみの両親の遺品だ。
<0267> Even if there was something there,
// それが何であったとしても。
<0268> Even if it brought Kotomi sad memories,
// それがことみにとって、悲しい記憶を呼び起こすものだとしても。
<0269> Even though it would confirm her parents would never come back again,
// 両親が二度と帰らないことを、確認するためのものだったとしても。
<0270> Kotomi had to face the truth.
// ことみは正面から、向き合わなければならない。
<0271> \{\m{B}} "I'll follow you."
// \{\m{B}}「俺がついてるから」
<0272> Without realizing it myself, I had given thsoe words.
// 自分でも気づかずに、言葉が出ていた。
<0273> \{Kyou} "Come on, say, 'Everyone's following you'!"
// \{杏}「みんながついてるから、って言いなさいよね」
<0274> After that, Furukawa and Fujibayashi nodded.
// その後ろで、古河と藤林も頷いている。
<0275> Kotomi also nodded.
// ことみもこくり、と頷いた。
<0276> Her finger let go of my sleeve.
// 俺の裾から指が離れた。
<0277> And then, leaving us, she came close to the bag.
// そして俺たちから離れ、ことみは鞄に近づいていく。
<0278> Everyone was watching over Kotomi.
// ことみのことを、みんなが見守っていた。
<0279> She picked up the bag.
// ことみが鞄に手をかけた。
<0280> A clicking sound echoed, and the rusted snap fasteners came loose.
// ばちんという音が響いて、無骨な留め金が外れた。
<0281> With the help of her thin fingers on the cover, she slowly put her power into it...
// 蓋に細い指を添えて、ゆっくりと力をこめていく…
<0282> The bag opened.
// 鞄が開け放たれた。
<0283> Inside, something like a light-brown blanket was squished within.
// 中には、明るい茶色の毛布のようなものが、ぎゅうぎゅうに押し込まれていた。
<0284> And why was it that it was staring back at Kotomi...?
// それはなぜか、ことみをやさしく見返してきた…
<0285> \{Ryou} "Eh... uh... huh?..."
// \{椋}「え…あ…あれ？…」
<0286> \{Furukawa} "A stuffed..."
// \{古河}「くまの…」
<0287> \{Kyou} "... bear?" // swapped for English reasons --velocity7
// \{杏}「…ぬいぐるみっ？」
<0288> Kotomi's eyes looked at it, as if frozen.
// ことみの瞳が、凍りついたように、それを見つめていた。
<0289> She couldn't believe what she was seeing.
// 自分が見ているものを、信じられずにいた。
<0290> Certainly it was a stuffed bear, its long fur dirtied all over.
// 長い毛皮は薄汚れてはいるが、たしかにくまのぬいぐるみだった。
<0291> It was very friendly, looking as if to be held up and hugged.
// それはとても人懐っこく、抱きあげられるのを待っているように見えた。
<0292> In the opening of the bag was a sheet of paper beside the bear.
// ぬいぐるみと鞄の隙間に、一枚の紙が入っていた。
<0293> Noticing it, Kotomi's finger went to pick it up.
// それに気づくと、ことみは指でそっと引き出した。
<0294> It seems that the sand had gotten in all inside of the bag.
// 鞄に入りこんでいたらしい砂が、ばらばらとこぼれた。
<0295> The paper was, as we thought, a letter sealed from the bottom of the ocean.
// 紙と思ったものは、きちんと封をされた洋形の封筒だった。
<0296> It was terribly faded, and filthy all over.
// ひどく色褪せ、汚れ、くしゃくしゃになっていた。
<0297> All of our chins peeped in from Kotomi's shoulder.
// 俺たちは、ことみの肩口からいっせいにそれを覗きこんだ。
<0298> And there, was written,
// そこには、こう書かれてた。
<0299> \ If you find this suitcase,\r \ \p please take it to our daughter.\r \ \p K&M Ich // DO NOT MODIFY
// \ If you find this suitcase,\r \ \p please take it to our daughter.\r \ \p K&M Ich
<0300> Based on the cursive style of the letters, it was softly written with a pencil.
// 柔らかな鉛筆を使ったらしい、走り書きの筆記体だった。
<0301> I wonder if it was written in a hurry, as the signatures were stopped halfway through.
// よほど急いでいたのか、最後の署名は途中で途切れていた。
<0302> \{Kyou} "... what's this mean?"
// \{杏}「…どういう意味なのっ？」
<0303> \{\m{B}} "Don't ask me."
// \{\m{B}}「俺に訊くなよ」
<0304> \{Furukawa} "I'm sorry. I don't really know."
// \{古河}「すみません。わたしにも、わからないです」
<0305> \{Kyou} "... Ryou, do you?"
// \{杏}「…椋、わかる？」
<0306> \{Ryou} "Eh? ... me?"
// \{椋}「え？…、私？」
<0307> \{Ryou} "Um... so it's '\bIf you\u'... 'If you find this \bsuitcase\u...'"
// \{椋}「えっと…イフユーだから、もしもあなたがこのすーつけーすを…」
<0308> \{Kotomi} "If you find this suitcase, please take it to our daughter." // DO NOT MODIFY
// \{ことみ}「この鞄を見つけたら、どうか娘に届けてください」
<0309> \{Kotomi} "Ichinose Koutarou and Ichinose Mie."
// \{ことみ}「一ノ瀬鴻太郎と一ノ瀬水恵」
<0310> \{Kyou} "That means... the last 'K&M' that's there is..."
// \{杏}「それじゃ…最後のケーアンドエムっていうのは…」
<0311> As if answering herself, Kotomi nodded.
// 自分自身に答えるように、ことみは頷いた。
<0312> \{Kotomi} "They always signed the thesis they collaborated on with this signature."
// \{ことみ}「共同研究の論文には、いつも手書きでこうサインしてたの」
<0313> No one said anything.
// 誰も、何も言わなかった。
<0314> Only the bear inside the bag was becoming bored of waiting for its turn to be held.
// 鞄の中のぬいぐるみだけが、出番を待つ役者みたいに退屈そうにしていた。
<0315> \{Furukawa} "... your mom and dad wrote this?"
// \{古河}「…お父さんとお母さんが、書いたんですよね？」
<0316> \{Ryou} "Ah... eh... but, Kotomi-chan's parents were... long ago, umm..."
// \{椋}「あ…え…でも、ことみちゃんのご両親は…ずっと前に、えっと…」
<0317> \{Kyou} "What do you mean? Explain to us clearly!"
// \{杏}「どういうことなの？ちゃんと説明してよっ」
<0318> \{\m{B}} "It's useless to be threatening me."
// \{\m{B}}「俺にすごまれてもどうにもならないぞ」
<0319> \{Man} "... perhaps I could explain?"
// \{紳士}「…私の方から説明させてもらえるかな？」
<0320> We all looked towards the calm voice of the gentleman.
// 穏やかな声に、その場にいた全員が紳士の方を見た。
<0321> \{Man} "Inside the bag is most certainly that of the Ichinose couple."
// \{紳士}「その鞄は、たしかに一ノ瀬夫妻のものだ」
<0322> \{Man} "I know that it was brought into the dressing room of the airplane as luggage."
// \{紳士}「飛行機の客室に手荷物として持ち込まれたことがわかっている」
<0323> \{Man} "And then that couple met their unfortunate fate..."
// \{紳士}「そして夫妻は、不運にも事故に遭ってしまった…」
<0324> Cutting off his words, the gentleman's glance fell upon the opened bag.
// 言葉を切ると、紳士は開いた鞄に視線を落とした。
<0325> \{Man} "I suppose I can guess what happened after that."
// \{紳士}「ここからは、推測にすぎないがね」
<0326> \{Man} "This bag must have been thrown out from the water impact. To make sure the load was light, everything else sunk with the wreckage."
// \{紳士}「この鞄は、着水の衝撃で飛行機から投げ出されたが、中の荷が軽かったために残骸もろとも沈まずに済んだ」
<0327> \{Man} "And probably since that time, it continued to drift across the seas."
// \{紳士}「そのままその時から、海上を漂流していたんだろう」
<0328> \{Man} "The bag finally reached the banks of some far off country."
// \{紳士}「鞄はやがて、どこか遠い国の岸辺にうちあげられた」
<0329> \{Man} "It was a time when the memories of the accident had faded."
// \{紳士}「あの事故の記憶は、とうに薄れてしまった頃だ」
<0330> \{Man} "Everyone opened the bag and looked inside."
// \{紳士}「誰かがこの鞄を見つけて、中を開いてみた」
<0331> \{Man} "And what was inside was the stuffed bear and the sheet of paper."
// \{紳士}「そこにはぬいぐるみと、一通の封筒が入っていた」
<0332> \{Man} "They could have left it there, or taken the things inside for themselves."
// \{紳士}「そのまま放っておくことも、自分のものにしてしまうこともできた」
<0333> \{Man} "But the finder, without doing that, entrusted it to someone else."
// \{紳士}「だが、拾い主はそうせずに、鞄を別の誰かに託した」
<0334> \{Man} "That person probably thought that this was surely something of great value."
// \{紳士}「きっと、大切な落とし物だと思ったんだろうね」
<0335> \{Man} "That happening, the bag passed across various countries from various hands, and came into our custody..."
// \{紳士}「そうやって、様々な国の人の手から手へ、この鞄は渡されてきた…」
<0336> No one said anything.
// 誰も、何も言えずにいた。
<0337> Noticing how we were, the gentleman gave a shy smile.
// 俺たちの様子に気づくと、紳士は照れたように笑った。
<0338> \{Man} "It's not necessarily a guess that's quit eoff."
// \{紳士}「あながち的はずれな推測でもないと思うよ」
<0339> \{Man} "There are some people I know that are familiar with minerals. Last night, I had them examine the sand that was inside the bag."
// \{紳士}「鉱物に詳しい人間が知り合いにいてね。昨晩、鞄に入っていた砂を調べてもらったんだよ」
<0340> \{Man} "Perhaps it came from part of a desert in Africa."
// \{紳士}「恐らくアフリカ内陸部の、砂漠のものだそうだ」
<0341> \{Man} "We couldn't guess exactly why it was that this bag had landed there."
// \{紳士}「なぜこの鞄がそんな土地を経由してきたのかは、見当もつかない」
<0342> \{Man} "There's evidence that both the bear and the bag have been fixed by several people."
// \{紳士}「ぬいぐるみにも鞄本体にも、複数の人が手入れをしてくれた形跡がある」
<0343> I once again look at the old bag.
// 俺はもう一度、古ぼけた鞄を見た。
<0344> I thought it was like someone who had gone on a long trip, experiencing many things and coming back to their hometown.
// 長い旅の間、たくさんの経験をして故郷に帰ってきた人のようだと思った。
<0345> Kotomi only looked at the bear.
// ことみはただ、ぬいぐるみを見ていた。
<0346> Its artifical black eyes seemed to give a sweet smile to her.
// つくりものの黒い瞳は、ことみににこにこと笑いかけているようだった。
<0347> \{Man} "Kotomi-kun, there's also something else I have to give you."
// \{紳士}「ことみくん、君に聞いてもらいたいことがあるんだ」
<0348> The gentleman slowly brought it out.
// 紳士がゆっくりと切り出した。
<0349> \{Man} "That envelope that was burned at the time..."
// \{紳士}「あの時、焼けてしまった封筒…」
<0350> \{Man} "It seems you didn't know what was inside this, did you?"
// \{紳士}「中に何が入っていたか、君はきっとわかっていなかっただろうね」
<0351> Kotomi's expression became tense again.
// ことみの表情に、また緊張が戻った。
<0352> \{Kotomi} "That's..."
// \{ことみ}「あれは…」
<0353> And answered with a vanishing-like voice.
// そして、消え入りそうな声で答えた。
<0354> \{Kotomi} "Mom and dad's thesis..."
// \{ことみ}「お父さんとお母さんの、論文の控え…」
<0355> The gentleman shook his head.
// 紳士はゆっくりと首を横に振った。
<0356> \{Man} "Seeing what was left after the burning, we soon understood."
// \{紳士}「燃え残りを見たら、私たちにはすぐにわかった」
<0357> \{Man} "The thesis was never here to begin with."
// \{紳士}「あれにはね、論文の控えは入っていなかったんだよ」
<0358> \{Man} "It had never existed to begin with."
// \{紳士}「論文の控えなんて、最初から存在しなかったんだ」
<0359> \{Kotomi} "Then... then, what was inside?"
// \{ことみ}「なら…なら、なにが入っていたの？」
<0360> The gentleman answered the bewildered Kotomi.
// 困惑することみに、紳士は答えた。
<0361> \{Man} "The stuffed doll catalog that the professor ordered."
// \{紳士}「博士が取り寄せた、ぬいぐるみのカタログだよ」
<0362> \{Man} "Even now, I remember it."
// \{紳士}「今でも覚えているよ」
<0363> \{Man} "That was a particular part of his lecture from the day before."
// \{紳士}「あれは特別講演が決まる前日のことだ」
<0364> \{Man} "Normally, he wasn't one to talk about his family, but strangely he had us listen."
// \{紳士}「普段なら、家庭のことは口にしない人なのに、珍しく聞かせてくれたんだよ」
<0365> \{Man} "'My daughter wanted something from me for the first time.'"
// \{紳士}「『娘が初めて、自分から欲しい物を言ってきた』」
<0366> \{Man} "'That's why, I have to get her the best present I can', he said so happily."
// \{紳士}「『だから、最高の贈り物にしなければならない』って、本当に嬉しそうにね」
<0367> \{Man} "Surely, he was examining carefully for your present..."
// \{紳士}「きっと、君のためのプレゼントを吟味していたんだろうね…」
<0368> That's right.
// そうだ。
<0369> At the time, the adults had told the sobbing Kotomi,
// あの時、大人たちは、泣きじゃくることみに言い聞かせていた。
<0370> "This isn't it."
// 『これは違うよ』
<0371> "So you don't have to cry."
// 『だから、君は泣かなくていいんだ』
<0372> "Because this is something for your sake..."
// 『これは、君のためのものだから…』
<0373> \{Man} "But, you were so far off at that time, that those words did not reach you."
// \{紳士}「だが、あの時の君はひどく取り乱していて、聞く耳を持たなかった」
<0374> \{Man} "It was later that we thought we should correct that misunderstanding."
// \{紳士}「後になって、私たちは誤解を正すべきだと考えた」
<0375> \{Man} "But, we felt you wouldn't believe what we had to say, and we were worried it'd place a heavy burden on you."
// \{紳士}「だが、私たちがそれを伝えたところで君が信じるとは思えなかったし、それがいっそう君にとって重荷になることを恐れた」
<0376> \{Man} "But... in this case, we feel you will believe us."
// \{紳士}「だが…今なら信じてもらえると思う」
<0377> Kotomi only remained silent, listening to the gentleman's speech.
// ことみはただ黙って、紳士の話を聞いていた。
<0378> Her eyes were childish, as if from that time.
// その瞳は、幼いあの時のままだった。
<0379> Her glance nervously falls.
// こわごわと、視線を落とす。
<0380> It was certainly a stuffed bear.
// たしかにくまのぬいぐるみがあった。
<0381> \{Kotomi} "But..."
// \{ことみ}「でも…」
<0382> \{Kotomi} "But, where's the thesis?"
// \{ことみ}「でも、論文はどこ？」
<0383> \{Kotomi} "Where's mom and dad's thesis?"
// \{ことみ}「お父さんとお母さんの論文は？」
<0384> \{Kotomi} "It should have been in this bag..."
// \{ことみ}「この鞄に、入れていたはずなのに…」
<0385> The gentleman softly smiled.
// 紳士がそっと微笑んだ。
<0386> \{Man} "How about you open the envelope?"
// \{紳士}「その封筒を開けてごらん」
<0387> It was a tone that was quite confident of something.
// 何かを確信しているような、やさしい口調だった。
<0388> While he said that, Kotomi opened the mouth of the envelope.
// 言われるままに、ことみが封筒の口を破った。
<0389> Inside was a thin sheet of notepaper.
// 中には薄手の便せんが一枚だけ入っていた。
<0390> \{Kotomi} "Ah..."
// \{ことみ}「あっ…」
<0391> A small yelp.
// 小さな叫び声が上がった。
<0392> Kotomi didn't stir an inch, focusing on the characters that were written.
// ことみは身じろぎもせずに、ただそこに書かれた文字を一心に見つめていた。
<0393> As if time had ceased to move.
// 時間が止まってしまったかのように。
<0394> And finally, she began reading it.
// やがて、ゆっくりと読みあげ始めた。
<0395> \{Kotomi} "To Kotomi."
// \{ことみ}「ことみへ」
<0396> \{Kotomi} "The world is beautiful."
// \{ことみ}「世界は美しい」
<0397> \{Kotomi} "Sadness is full of tears."
// \{ことみ}「悲しみと涙に満ちてさえ」
<0398> \{Kotomi} "Open your eyes."
// \{ことみ}「瞳を開きなさい」
<0399> \{Kotomi} "Do what you want to do."
// \{ことみ}「やりたい事をしなさい」
<0400> \{Kotomi} "Become what you want to be."
// \{ことみ}「なりたい者になりなさい」
<0401> \{Kotomi} "Find friends."
// \{ことみ}「友達を見つけなさい」
<0402> \{Kotomi} "Slowly and calmly become an adult."
// \{ことみ}「焦らずにゆっくりと大人になりなさい」
<0403> That echoing were as if it were a poem.
// その響きは、まるで詩のようだった。
<0404> Bit by bit, the hands that held up the notepaper began to tremble.
// 便せんを支えることみの手が、小刻みに震えはじめた。
<0405> \{Kotomi} "These are, my father's words..."
// \{ことみ}「これは、お父さんの字…」
<0406> And like that, she once again looks at the notepaper.
// そうしてもう一度、便せんを見る。
<0407> \{Kotomi} "We looked across many, many souvenir shops."
// \{ことみ}「おみやげもの屋さんで見つけたくまさんです」
<0408> \{Kotomi} "However, we looked through so many, to find the biggest one for you."
// \{ことみ}「たくさんたくさん探したけど、この子がいちばん大きかったの」
<0409> \{Kotomi} "We didn't have time, so we couldn't send this from the airport."
// \{ことみ}「時間がなくて、空港からは送れなかったから」
<0410> \{Kotomi} "Cute Kotomi,"
// How about "To our beloved Kotomi" or "Wish our beloved Kotomi"? I know it's not word or word translation, but it will make more sense this way ----- ginirofan
// In terms of context, this suggestion makes complete sense. Can be considered in revision then. -Amoirsp
// \{ことみ}「かわいいことみ」
<0411> \{Kotomi} "Happy birthday."
// \{ことみ}「おたんじょうびおめでとう」
<0412> That was all.
// それで全部だった。
<0413> Kotomi's finger followed the top of the paper.
// ことみの指先が、紙の上をそっとなぞった。
<0414> As if she had found something warm there.
// たしかな温もりを、そこに見つけたように。
<0415> \{Kotomi} "This is, my mother's writing."
// \{ことみ}「これは、お母さんの字」
<0416> \{Kotomi} "Mom, and dad's..."
// \{ことみ}「お父さんと、お母さんの…」
<0417> The notepaper slips from Kotomi's wavering fingers, flying down to the table.
// ことみの指からひらりと便せんが離れ、机の上に舞い降りた。
<0418> I checked the words written.
// 俺はその文字を確かめた。
<0419> Both of their handwriting was hoarse in some places, coming up to ten Japanese lines.
// ところどころかすれてしまったふたつの筆跡、十数行の日本語。
<0420> The final words of the mother and father, addressed to their daughter.
// それは、父親と母親が娘に宛てて書いた、最後の言葉だった。
<0421> Words that should have been written inside the plane during the short period of chaos from hitting the ocean.
// 海に落ちるまでのわずかな時間、混乱した機内で書かれた文字のはずだった。
<0422> There was no evidence of it being rushed or scattered about.
// 急いだ風も、取り乱した風も、どこにもなかった。
<0423> Nor was there any fear, despair, or regret.
// 恐怖も、悔恨も、絶望も、どこにもなかった。
<0424> Calm and polite words for when their innocent daughter would ask.
// 娘のあどけない質問に答える時の、丁寧で落ちついた文字だった。
<0425> Round and kind characters, to be told where their daughter was having a snack.
// 娘におやつの場所を教える時の、やさしく丸まった文字だった。
<0426> Even I understood it clearly.
// 俺にもはっきりとわかった。
<0427> Surely in this bag, there were things to write with, so the thesis was probably inside.
// きっとこの鞄には、筆記用具や手荷物と一緒に、論文も入っていたんだろう。
<0428> Realizing how little time they had left, they brought this out as Kotomi's mother and father, without hesitation.
// 自分たちの命があとわずかだと悟った時、ことみの父親と母親は、躊躇なくそれを投げ出した。
<0429> And instead, they put the bear they had into the bag, along with their written letter.
// かわりに、持っていたぬいぐるみを鞄に押し込み、ふたりでこの手紙を書いた。
<0430> All for Kotomi's sake.
// ただ、ことみのために。
<0431> More than their life, for their daughter, so that the birthday present would reach her...
// 命より大切な娘に、誕生日のプレゼントを届けるために…
<0432> \{Man} "Now, Kotomi-kun,"
// \{紳士}「いいかい、ことみくん」
<0433> \{Man} "The thesis is there."
// \{紳士}「論文は、そこにある」
<0434> \{Man} "What you have in front of you, is what the Ichinose couple took all their lifetime to complete; the best thesis ever."
// \{紳士}「今、君の目の前にあるのが、一ノ瀬夫妻が生涯をかけて完成させた、最高の論文だよ」
<0435> The gentleman proudly said.
// 誇らしげに、紳士は言った。
<0436> I saw the eyes behind his glasses blur a little.
// 眼鏡の奧の両目が、すこしだけ滲んで見えた。
<0437> \{Man} "I guarantee it."
// \{紳士}「私が保証する」
<0438> \{Man} "To that extent they are such beautiful words, that I would never once be able to reach."
// \{紳士}「それほどまでに美しい言葉に、私はかつて触れたことがない」
<0439> \{Man} "The Ichinose couple..."
// \{紳士}「一ノ瀬夫妻は…」
<0440> \{Man} "Your mother and father..."
// \{紳士}「君のお父さんとお母さんは…」
<0441> \{Man} "Until the end, prayed..."
// \{紳士}「最後まで、君の幸せだけを…」
<0442> \{Man} "only for your happiness."
// \{紳士}「祈って、いたんだよ」
<0443> And then...
// そして…
<0444> Kotomi's finger touched the bear.
// ことみの指が、ぬいぐるみに触れた。
<0445> Holding it softly, as if it were a fragile, treasured item.
// 壊れやすいたからもののように、そっと持ちあげる。
<0446> I felt it.
// 感じられる。
<0447> It spread out slowly, like a ripple.
// 波紋のように、ゆっくりと広がっていく。
<0448> And then an echo, as if a beautiful melody.
// そして響き合う、美しい音楽のように。
<0449> Like a wish from one's childhood.
// 幼いころの、ちいさな願い事のように。
<0450> Like a tall sky forgotten all this time.
// ずっと忘れていた、高い空のように。
<0451> Something that shouldn't be seen. Something that shouldn't be felt.
// 見られるはずのないもの、触れられるはずのないもの。
<0452> Something that had disappeared from this world long ago...
// ずっと昔に、この世界がなくしてしまったもの…
<0453> And right now, that is certainly here.
// それは今、たしかにここにある。
<0454> Watching over the girl holding onto the stuffed bear.
// ぬいぐるみを抱いた女の子のことを、やさしく見守っている。
<0455> \{Kotomi} "Mom, dad..."
// \{ことみ}「お父さん、お母さん…」
<0456> Kotomi speaks.
// ことみが語りかける。
<0457> \{Kotomi} "I've been waiting so long."
// \{ことみ}「私ね、ずっと待ってたの」
<0458> \{Kotomi} "I've been waiting so long, all alone in the house."
// \{ことみ}「お家の中で、ずっとひとりで、待ってたの」
<0459> \{Kotomi} "Being lonely was so sad, I could only cry."
// \{ことみ}「ひとりぼっちはとってもさびしくて、泣いてばかりいたの」
<0460> \{Kotomi} "I didn't like this sort of thing, and only cried on my own."
// \{ことみ}「こんなのはいやだって、ひとりで泣いてばかりいたの」
<0461> \{Kotomi} "And then..."
// \{ことみ}「そうしたらね…」
<0462> \{Kotomi} "\m{B}-kun came to pick me up."
// \{ことみ}「\m{B}くんが、迎えに来てくれたの」
<0463> \{Kotomi} "Telling me not to be afraid of the outside."
// \{ことみ}「お外はこわくないよって、教えてくれたの」
<0464> \{Kotomi} "Telling me to come with him outside."
// \{ことみ}「いっしょにお外に出ようって、言ってくれたの」
<0465> \{Kotomi} "And telling me that he'd always be with me."
// \{ことみ}「いつまでもいっしょだからって、言ってくれたの」
<0466> \{Kotomi} "That's why, we left for the outside."
// \{ことみ}「だから、いっしょにお外に出たの」
<0467> \{Kotomi} "I was no longer afraid of the outside."
// \{ことみ}「お外は、こわくなかったの」
<0468> \{Kotomi} "When I told \m{B}-kun how beautiful the sky was, he understood."
// \{ことみ}「お空がとってもきれいって言ったらね、\m{B}くんがわらってくれたの」
<0469> \{Kotomi} "See, I really like \m{B}-kun..."
// \{ことみ}「私ね、\m{B}くんのこと、とってもだいすきなの…」
<0470> \{Kotomi} "And after that, we made a lot of friends."
// \{ことみ}「それからね、お友達が、たくさんできたの」
<0471> \{Kotomi} "Everyone gets along so well, and is so kind."
// \{ことみ}「みんなとっても仲良しで、とってもやさしくしてくれるの」
<0472> \{Kotomi} "I talked with everyone and played together."
// \{ことみ}「みんなでおしゃべりしたり、あそびにいったりするの」
<0473> \{Kotomi} "It's so fun being with everyone."
// \{ことみ}「みんなといると、とってもたのしいの」
<0474> \{Kotomi} "Sure there are sad and painful things but, being with everyone is fine."
// \{ことみ}「悲しいことや、つらいこともあるけど、みんなといると平気なの」
<0475> \{Kotomi} "And then, I started on the violin again."
// \{ことみ}「それでね、ヴァイオリン、またはじめるの」
<0476> \{Kotomi} "Everyone gave it as a present."
// \{ことみ}「みんながね、プレゼントしてくれるって」
<0477> \{Kotomi} "It's such a beautiful violin."
// \{ことみ}「とってもすてきなヴァイオリンなの」
<0478> \{Kotomi} "That's why, that's why..."
// \{ことみ}「だから、だからね…」
<0479> \{Kotomi} "See, I'm, really happy right now."
// \{ことみ}「私ね、今ね、とってもしあわせなの」
<0480> \{Kotomi} "I'm really, really happy, so happy, that's why, that's why..."
// \{ことみ}「とってもとってもしあわせで、しあわせでしあわせで、だから、だから…」
<0481> \{Kotomi} "See, that's why..."
// \{ことみ}「だからねっ…」
<0482> \{Kotomi} "Mom, dad..."
// \{ことみ}「お父さん、お母さん…」
<0483> \{Kotomi} "Welcome back!"
// \{ことみ}「おかえりなさいっ」
<0484> Her tears didn't stop.
// 涙が、とまらなくなった。
</pre>
</div>

Talk:Clannad:SEEN4512

2007-10-18T08:41:09Z

Dgreater1: Alternate TL

<div class="clannadbox">
<pre>
// Resources for SEEN4512.TXT

#character '＊Ｂ'
#character 'Driver'
// '運転手'
#character 'Kotomi'
// 'ことみ'
#character 'Mother'
// '母'
#character 'Girl'
// '女の子'

<0000> Kotomi
// ことみ
<0001> I wake up to the sounds of the birds.
// 鳥の声で目覚めた。
<0002> When my eyes opened, I see the deep blue sky.
// 目を開けると、真っ青な空だった。
<0003> \{\m{B}} "...?"
// \{\m{B}}「…？」
<0004> The futon was frighteningly cranky, and even more, cold.
// 布団がやけにつんつんして、しかも冷たい。
<0005> I use my hand to check around and confirm that it's the lawn.
// 手のひらで触って確かめると、湿った草だった。
<0006> What am I doing sleeping on something like this?
// なんで俺、こんなとこで寝てるんだ？
<0007> ... that's right, it's Kotomi's garden.
// …そうだ、ことみの庭だ。
<0008> This feels like a dream.
// 夢を見ていた気がする。
<0009> As for that...
// あれは…// if you got enough points with Kotomi goto 10, else goto 20
<0010> Upon trying to get up, I noticed that I had a jacket over my stomach.
// 身体を起こそうとして、上着が腹に掛かっているのに気づいた。
<0011> \{\m{B}} "Ah, that's right."
// \{\m{B}}「そうか…」
<0012> I finally remembered.
// ようやく思い出してきた。
<0013> After completing digging through the earth of the flower bed, I fell asleep in such a place.
// 花壇の土を出し終わった後に、その場に寝ころんで休憩していた。
<0014> After that, I...
// そのあと、俺は…
<0015> I...
// 俺は…
<0016> \{\m{B}} "??"
// \{\m{B}}「？？」
<0017> My memory's off.
// 記憶がおかしい。
<0018> Because it was cold when I slept, I went to... get a jacket...?
// 寝ていて肌寒かったから、上着を取りに行った…んだっけ？
<0019> \{\m{B}} "...???"
// \{\m{B}}「…？？？」
<0020> The tail of the dream I grabbed had just managed to slip away.
// 捕まえようとした夢の尻尾が、するりと身をかわして逃げていった。
<0021> \{\m{B}} "... well, whatever."
// \{\m{B}}「…まあ、いいか」
<0022> Taking a big yawn, I get up.
// 大あくびをかまし、上体を起こした。
<0023> My body was so light, having slept outside.
// 外で寝たにしては、やけに体が軽い。
<0024> I narrow my eyes at the morning sunlight, and gaze at Kotomi's house.
// 朝陽のかけらに目を細め、ことみの家を眺める。
<0025> I can see it's as if no one's living here, as always.
// 相変わらず、誰も住んでいないように見える。
<0026> \{\m{B}} "Good morning, Kotomi."
// \{\m{B}}「おはよう、ことみ」
<0027> After that, I had a look over the half-worked garden.
// それから、作業途中の庭を見渡す。
<0028> I think I should finish this up somehow today.
// なんとか今日中に仕上げられれば、と思う。
<0029> \{\m{B}} "Well now, shall we start?"
// \{\m{B}}「さてと、始めるか」
<0030> I stood up.
// 俺は立ち上がった。
<0031> The first order of business for the morning, was pruning the garden tree.
// 朝一番の仕事は、庭木の剪定だった。
<0032> I refer to the book I bought yesterday, using the hedge clippers.
// 昨日買った本を参考に、刈り込み鋏を動かす。
<0033> I'm not really a pro but, the branch is small, so it should be pretty close to perfect.
// プロのようにはいかないが、枝を短くするだけでもかなり印象が違った。
<0034> Finishing up with the trees that stand out, the light from the household shone through.
// 目立った木々の枝を揃え終えたところで、庭全体に光が差し込んできた。
<0035> The joyful voices of kids attending school; were they grade schoolers or kindergarteners?
// 小学生か幼稚園か、子供たちの声がふざけあいながら登校していく。
<0036> I hear the sound of a truck engine stopping in front of the hedge.
// トラックのエンジン音がして、生け垣の向こうで止まった。
<0037> Leaving the scissors, I turned towards the entranceway.
// 俺は鋏を置いて、玄関の方に向かった。
<0038> As I thought, the name of a home center truck had stopped by.
// 思った通り、停まっていたのはホームセンターの名前が入ったトラックだった。
<0039> The tall man who appeared to be the driver was having a look at the nameplate.
// 運転手らしい長身の兄ちゃんが、表札を覗き込んでいた。
<0040> \{\m{B}} "Thanks for your help."
// \{\m{B}}「ご苦労様です」
<0041> \{Driver} "You're... \m{A}-san, right?"
// \{運転手}「\m{A}さん…ですよね？」
<0042> \{\m{B}} "Yes, that's right."
// \{\m{B}}「はい、そうです」
<0043> The nameplate was different, so he seemed troubled.
// 表札が違ったから、困っていたらしい。
<0044> \{Driver} "I came to deliver the goods you ordered yesterday."
// \{運転手}「昨日お買いあげの商品をお届けに上がりました」
<0045> \{\m{B}} "Could you leave it by the gate post? I'll deal with it after."
// \{\m{B}}「門柱の中に置いてもらえますか。あとは俺がやりますから」
<0046> \{\m{B}} "Whew..."
// \{\m{B}}「ふう…」
<0047> Finishing up everything at one corner of the house, I took a breath.
// 全てを庭の隅に運び終わってから、一息ついた。
<0048> Humus, fertilizer, assorted flowers to plant, and a sparse assortment of tools were in the bag.
// 腐葉土、肥料、植え替え用の花々、足りない道具や小物が入った袋。
<0049> After leaving Kyou and the others, I bought with everything I had.
// 杏たちと別れた後、全財産をはたいて買いそろえたものだ。
<0050> The flowers were all assorted things I bought from the garden corner.
// 花は園芸コーナーにあったものを全種類混ぜて買ってきた。
<0051> The plastic pots should bring back the liveliness to this house.
// プラスチックの鉢のままでも賑やかで、庭に活気が戻ったようだった。
<0052> I pull a hose from the water tap.
// 水道の蛇口から、ホースで水を引いた。
<0053> I scour the black flowerbed and bricks to shine real nicely.
// 黒く汚れていた花壇の煉瓦を、タワシでよく磨いてやる。
<0054> After that, I put out the humus.
// それから腐葉土をぶちまけた。
<0055> I mix the scraped-out ground from last night, cultivating it well with a shovel, and then letting the sun on it for a while.
// 昨夜掻き出しておいた土を混ぜて、シャベルでよく耕し、しばらく太陽の光にさらす。
<0056> Next was the lawn maintenance.
// god damn it gardening terminology... good thing I do some of this stuff myself --velocity7
// 次は芝の整備だ。
<0057> I didn't have time to repaper, so at the very least I'll mow it short.
// 張り替える時間はないから、せめて短く刈り揃えることにした。
<0058> I oiled the blades of the lawnmower all over.
// 芝刈り機の刃を交換して、たっぷり油をさした。
<0059> Bringing the lawnmower to the edge of the lawn, I pull on the handle as hard as I can.
// 芝生の生え際に芝刈り機を持ち出し、力を込めてハンドルを押してみた。
<0060> The sound of the wheels and the blades running.
// タイヤと刃が回転するがらがらという音。
<0061> The lush green spat out, being collected in the garbage container. // technically you don't have to; it's also doable to just leave it on the grass as the grass' own fertilizer --velocity7
// 青々とした草のシャワーがほとばしり、ゴミ受け皿にたまっていく。
<0062> I went around a countless number of times until the garden was finished.
// 庭を全て揃えるまで、数えきれないほど往復した。
<0063> Just the lawn being short made a pretty big impression.
// 芝が短くなっただけで、とたんに印象が変わった。
<0064> Up until now the garden had a melancholy, but now felt so wide and fresh.
// 今までどこか陰気だった庭そのものが、明るく広くなったような気さえした。
<0065> Last thing is the flower bed.
// 最後は花壇だった。
<0066> Pulling the flowers from their pots, I plant them one by one, thinking over the tone. // reword for "tone"?
// 鉢から花を取りだし、色合いを考えながらひと株ひと株植えていく。
<0067> I gently curve around the bricks.
// 煉瓦が描く、なだらかなカーブ。
<0068> A lush color and aroma from flowers in the early summer. // you know Tomoya, you'd make more money as a gardener rather than an electrician in After Story ;) --velocity7
// you know tomoya doesn't do this in normal chronology. :P -Amoirsp
// 咲き乱れる初夏の花の、みずみずしい香りと色。
<0069> The short and evenly-mowed lawn plaza.
// 短く切り揃えられた芝生の広場。
<0070> Right in the centre was a completely white table and a two-legged garden chair. // two-legged? --velocity7
// その中央に、真っ白なテーブルと二脚のガーデンチェア。
<0071> There was a strange confidence in that, as if putting in a piece in a puzzle in my dream.
// 夢の中のパズルにピースをはめ込んでいくような、不思議な確信があった。
<0072> I forgot about everything, and immersed myself in the garden... // you know, if they do this in CLANNAD TV, it means Tomoya has to take care of this garden through After Story compared to the game... --velocity7
// 俺は全てを忘れ、庭造りに没頭していった…
<0073> Late in the afternoon, all of the work was done.
// 午後遅く、全ての作業がおわった。
<0074> The garden becomes as it was before.
// 元通りになった庭。
<0075> The most important place where I first met Kotomi.
// ことみと初めて出会った、大切な場所。
<0076> Even I couldn't believe that everything here was completed.
// 完成してしまったことが、自分でも信じられなかった。
<0077> The assorted flowers and the length of the lawn might have been slightly off.
// 花の種類とか芝生の長さとか、細かいところは違うかもしれない。
<0078> Even then, I did everything I could.
// それでも、俺にできることはこれで全部やった。
<0079> There shouldn't be anything left out.
// 足りないものはもうないはずだ。
<0080> No, that's wrong.
// いや、違う。
<0081> There's still one more, important thing that's missing.
// まだひとつだけ、大切なものが足りない。
<0082> To wait for it to complete...
// それが揃うためには…
<0083> All I had to do was wait.
// ただ、待つしかないだろう。
<0084> About this time, I realized just how tired I was.
// 今頃になって、自分がひどく疲れているのに気づいた。
<0085> There was a comfortable sleepiness in the top of my eyelids.
// 上瞼のあたりに、心地よい眠気もあった。
<0086> But, I can't sleep just yet.
// だが、まだ眠るわけにはいかない。
<0087> For this garden to be like before, I thought I had to do that.
// 庭を元通りにできたら、やろうと思っていたことがあった。
<0088> I come close to the pure white garden chair from the past.
// 昔のままに真っ白なガーデンチェアに近づく。
<0089> I poked it with my finger, wondering if the paint had finished drying up.
// ちゃんとペンキが乾いているか、座面を指でつついてみた。
<0090> And afterward, I slowly sat down.
// それから、ゆっくりと腰かけた。
<0091> I look in the pocket straight in the jacket's sleeve.
// 上着に袖を通し、ポケットを探る。
<0092> In there was a book that Kotomi entrusted to me.
// そこには、ことみから託されたあの本が入っていた。
<0093> The chipped skin of the front cover.
// 革のカバーがかけられた表紙。
<0094> Like a dictionary not long used before, the page edges sprung up.
// 使い込んだ辞書のように、ページの端が浮き上がっていた。
<0095> Opening the front cover, I looked into the book.
// 表紙を開き、ざっと中を見てみた。
<0096> The page had grown old much like a baked bread, with bits and pieces of the pages missing.
// 焼いたパンのようにページは褪せていて、ところどころ虫食っていた。
<0097> Why was it that Kotomi told me, "I don't want you to read this"?
// ことみはなぜ、『読まないでほしい』なんて言ったのだろう？
<0098> The answer to that question should be here.
// その答えは、この中にあるはずだった。
<0099> \{\m{B}} "Sorry but, I'll give it a read..."
// \{\m{B}}「悪いけど、読ませてもらうな…」
<0100> I murmur that to shake away the faint feelings of guilt.
// かすかな罪悪感をうち消すために、俺はそう呟いた。
<0101> Turning over the cloth-folded page, I began reading.
// 中表紙をめくり、読み始める。
<0102> It seems to be... a novel much like a collection of short stories.
// 小説の短編集…というのだろうか。
<0103> Because the translation made it difficult to bring out the expressions, you couldn't say it was easy to read.
// 翻訳してあるせいか言い回しが難しくて、読みやすいとは言えなかった。
<0104> Skimming over for whatever words, I started about on the story.
// 最初の何編かを流し読みして、新しい話にとりかかった。
<0105> A girl coming from the future talking with a man from this time... that kind of story. // Dandelion Girl
// 未来から来たと話す少女と、中年の男が出会う…そんな話らしかった。
<0106> \{\m{B}} "........."
// \{\m{B}}「………」
<0107> I immediately looked up from the page.
// すぐにページから目を上げた。
<0108> \{\m{B}} "Huaaahhh..."
// \{\m{B}}「ふああああぁ…」
<0109> I yawned heavily.
// 大あくびが出た。
<0110> I was so damn sleepy.
// たまらなく眠い。
<0111> Certainly being in this garden was too comfortable.
// きっと、この庭の居心地がよすぎるのだ。
<0112> I return to the book again, one more time.
// もう一度、本に戻ろうとする。
<0113> \{\m{B}} "........."
// \{\m{B}}「………」
<0114> When I came to, my finger had slipped off the book.
// 気がついたら、本から指が離れていた。
<0115> A light wind blew, throwing the pages all back.
// 弱い風に押され、ページがぱらぱらと戻っていく。
<0116> Unable to put up with it, I closed my eyes.
// 耐えられず、目を閉じる。
<0117> My mind was shrouded in a tender sleepiness.
// やわらかな眠気に、頭の芯が包まれていく。
<0118> My memory returned like something flowing.
// 満ち潮のように、遠い記憶が戻ってくる。
<0119> At that time...
// あの頃…
<0120> Yeah, Kotomi and I...
// そうだ、俺はことみと…
<0121> No, that's wrong.
// いや、違う。
<0122> That book was a lot newer, much bigger, and binded better...
// あの本はもっと新しくて、大きくて、立派な装丁で…
<0123> Like being pulled into a wave, my consciousness became faint.
// 引き波にさらわれるように、意識がおぼろげになっていく。
<0124> "Day before yesterday I saw a rabbit..." // DO NOT MODIFY
// 『おとといは兎…』
<0125> I became unaware of where I was, and when it was.
// ここがどこで、今がいつなのか、わからなくなっていく。
<0126> "and yesterday a deer..." // DO NOT MODIFY
// 『きのうは鹿…』
<0127> Just before I had fallen asleep, I came to.
// 眠りにさらわれる寸前、俺は気づいた。
<0128> Yes, that's right.
// ああ、そうだ。
<0129> The book wasn't any bigger, we were...
// 本が大きいんじゃなくて、俺たちが…
<0130> We were, smaller...
// 俺たちが、小さかったんだ…
<0131> I lost my way.
// 道に迷ってしまった。
<0132> Because I was blocked off by a no-entry sign that kept me from the place I usually played at.
// いつも遊んでいた広場が、立ち入り禁止になったせいだ。
<0133> I went with the kids to find a new place.
// 近所の子供たちと一緒に、新しい空き地を探していた。
<0134> And like that, before I knew it, I had become alone.
// そうして気づいたら、自分ひとりになっていた。
<0135> In an unknown residential district.
// 知らない住宅地だった。
<0136> For someone as young as me, it was the same as an unknown country.
// 幼かった俺には、知らない国と同じだった。
<0137> My gradually legs made haste toward the evening aroma.
// 夕暮れの気配に、だんだん足が早くなる。
<0138> The time I ran away...
// 駆け出そうとした時…
<0139> Facing the tall hedge at the back, I heard a strange sound.
// 背の高い生け垣の向こうから、不思議な音が聞こえてきた。
<0140> An unknown sound.
// 知らない音。
<0141> Even so, it was a nostalgic one.
// それなのに、懐かしい音。
<0142> I searched for the entrance, as if being invited.
// 誘われるように、入口を探していた。
<0143> Looking through the crevices of the hard branches and leaves, somehow I managed to push my body through.
// 固い葉と枝の隅に隙間を見つけて、どうにか身体を押し込んだ。
<0144> It was a beautiful garden.
// きれいな庭だった。
<0145> The short-mowed lawn and the pure white table and chair.
// 短く切り揃えられた芝生に、真っ白なテーブルと椅子。
<0146> The flowerbed had flowers whose names I didn't know bloom, as if they were spilling all over.
// 花壇では、名前もわからない花々がこぼれるように咲いていた。
<0147> Even if it was evening, I couldn't just come in.
// 夕闇さえ、ここには入ってこられない。
<0148> There wasn't even a board to drive me out, so I thought it was a special place.
// 追い出されることも、ビルが建ってしまうこともない、特別な場所なんだと思った。
<0149> It was the time I had looked away when everyone was calling.*
// みんなを呼んでこようと、振り向きかけた時。
<0150> There was a girl I didn't know there.
// 知らない女の子がいた。
<0151> Holding a violin and bow, she stared at me.
// ヴァイオリンと弓を提げたまま、俺のことをじっと見つめていた。
<0152> After exchanging some words, the girl gave me a clumsy smile.
// いくつか言葉を交わした後、彼女は俺にぎこちなく笑いかけた。
<0153> The girl and I became friends.
// 彼女と俺は、友達になった。
<0154> After that, every day I came to play with her at the house.
// それから毎日のように、彼女の家に遊びに行った。
<0155> The sunlight completely shined on the boarding of the living room floor from the garden.
// 板張りの居間には、庭からの陽射しがたっぷりと射しこんだ。
<0156> The faint aroma of the pipe was about.
// パイプ煙草の香りが薄く漂っていた。
<0157> \{Kotomi} "It's the smell of my dad's tobacco."
// \{ことみ}「お父さんの、たばこのにおい」
<0158> With that refined childlike mind of hers, she thought of others smoking as something else.
// それは子供心にも上品で、他の大人たちが吸っていたものとは別物に思えた。
<0159> The best thing she liked was playing house.
// 彼女がいちばん好きなのは、ままごとだった。
<0160> Her playing house was a little different.
// 彼女のままごとは、ちょっと変わっていた。
<0161> While spinning her finger round and round, she would tell me the name of each and every food.
// まるっこい指でさしながら、料理の名前をひとつひとつ教えてくれる。
<0162> And when she was done all of that, she put her hands together.
// それが全部済むと、ちゃんと手を合わせる。
<0163> \{Kotomi} "Shall we eat?"
// \{ことみ}「いただきましょう」
<0164> \{\m{B}} "... let's eat."
// \{\m{B}}「…いただきます」
<0165> \{Kotomi} "Let us eat then."
// \{ことみ}「どうぞめしあがれ」
<0166> Exaggerating that, she stared at me.
// 大げさに言ってから、俺のことをじっと見る。
<0167> \{Kotomi} "Say 'ahhh'."
// \{ことみ}「あーんして」
<0168> Picking up a slice of the food, she brought it in front of me.
// 料理を割りばしでつまんで、俺の前に差し出す。
<0169> She couldn't put it into my mouth well, and I immediately became tearful.
// ちゃんと口に入れないと、すぐに泣きそうになる。
<0170> \{\m{B}} "I can't eat this much."
// \{\m{B}}「こんなの、食べられないよ」
<0171> Because all of the feast was made of clay. // "minna" used as "all"... probably done as a kid? --velocity7
// 彼女のごちそうは、みんな粘土でできていたから。
<0172> \{\m{B}} "It's cruel with you not eating either, Kotomi-chan."
// \{\m{B}}「ことみちゃんも食べないと、ずるいよ」
<0173> \{\m{B}} "Here's your share, Kotomi-chan."
// \{\m{B}}「ほらっ、ことみちゃんの分」
<0174> I put the clay-like food onto her paper plate all at once.
// 彼女の紙皿に、粘土の料理をどさどさと移す。
<0175> \{Kotomi} "Yup, it's my share."
// \{ことみ}「うん、わたしの分」
<0176> \{Kotomi} "I'll share half of this with you, \m{B}-kun."
// \{ことみ}「\m{B}くんとふたりで、半分こ」
<0177> A sweet smile.
// にっこりと笑った。
<0178> In the end, I told no one else about the garden.
// 結局その庭のことは、仲間たちには教えなかった。
<0179> To begin with, I didn't like playing in a large crowd to begin with...
// もともと俺は、大勢で遊ぶのはあまり好きではなかったし…
<0180> I wanted to keep it a secret only to myself.
// 自分だけの秘密にしておきたかった。
<0181> I played in the garden on a bright and sunny day.
// 天気のいい日は、庭で遊んだ。
<0182> Running barefoot in the garden, we played tag and hide-and-seek.
// 裸足のまま芝生を駆け回って、ふたりで鬼ごっこやかくれんぼをした。
<0183> But, there were too few people to play tag with, and if I hid myself too well, she would start to cry.
// でも、鬼ごっこには人数が少なすぎたし、俺が上手に隠れれば、彼女は決まって泣きそうになった。
<0184> The small flower bed had bloomed so many assorted flowers.
// 小さな花壇いっぱいに、いろいろな花が咲いていた。
<0185> She knew the names of all of them.
// その名前を、彼女は全部知っていた。
<0186> \{Kotomi} "This is a California poppy, this is a Begonia, this is a pansy violet..."
// \{ことみ}「これはハナビシソウ、これはベコニア、これがサンシキスミレ…」
<0187> \{Kotomi} "And then, this is a..."
// \{ことみ}「それでね、これは…」
<0188> \{Kotomi} "Chry..."
// \{ことみ}「クリ…」
<0189> \{\m{B}} "Chry?"
// \{\m{B}}「くり？」
<0190> \{Kotomi} "Umm..."
// \{ことみ}「ええと…」
<0191> \{Mother} "\g{Chrysanthemum paludosum}={Leucanthemum paludosum is the actual scientific name at this time of writing, according to Wikipedia. At the time this was written in CLANNAD, the flower belonged to the Chrysanthemum family.}."
// \{母}「クリサンセマム・パルドスム」
<0192> \{Mother} "It also has the name of the north pole."
// \{母}「ノースポールってお名前もあるわね」
<0193> The mother of the girl told us that, as she was drying the laundry.
// 洗濯物を干していた彼女の母親が、やさしく教えてくれた。
<0194> Always with a pure white apron.
// いつでも真っ白なエプロンをしていた。
<0195> Always with a sweet smile.
// いつもにこにこと笑っていた。
<0196> I was envious.
// うらやましかった。
<0197> Because that was the thing I wanted most.
// それは、俺がいちばん欲しかったものだから。
<0198> \{Mother} "Hey, Kotomi-chan, the weather's nice today, so why don't you go play outside with \m{B}-kun?"
// \{母}「ねえことみちゃん、お天気こんなにいいんだから、\m{B}くんとお外で遊んだら？」
<0199> Saying that, she always had a troubled face.
// そう言われると、きまって彼女は困った顔をする。
<0200> \{Kotomi} "This is outside."
// \{ことみ}「ここ、お外なの」
<0201> \{Mother} "This is the garden, isn't it?"
// \{母}「ここはお庭でしょ？」
<0202> \{Kotomi} "It's outside because it's the garden."
// \{ことみ}「お庭だから、お外なの」
<0203> \{Mother} "But you know..."
// \{母}「でもね…」
<0204> \{Kotomi} "It's outside."
// \{ことみ}「お外なの」
<0205> She was definitely not going to yield.
// 絶対にゆずろうとしない。
<0206> The mother took a sigh, looking at her face.
// 母親はため息をついて、彼女の顔を覗きこむ。
<0207> \{Mother} "When I mean outside, I mean beyond the hedge."
// \{母}「お外はね、あの生け垣の向こうのこと」
<0208> \{Mother} "Outside is so much, much bigger, and there are a lot of things you don't know about, Kotomi-chan."
// \{母}「お外はとってもとっても広くて、ことみちゃんの知らないものがたあくさんあるの」
<0209> \{Kotomi} "I'm scared, I don't wanna."
// \{ことみ}「こわいから、やなの」
<0210> \{\m{B}} "There's nothing to be afraid of."
// \{\m{B}}「こわくなんかないよ」
<0211> So I answered, having come from the "outside" myself.
// 『外』から来ていた俺は、そう答えた。
<0212> \{Mother} "Indeed..."
// \{母}「そうね…」
<0213> \{Mother} "You're a really good kid, \m{B}-kun."
// \{母}「\m{B}くんは、とってもいい子」
<0214> \{Mother} "Kotomi-chan is Ms. Scared."
// \{母}「ことみちゃんは、こまったさん」
<0215> \{Kotomi} "I'm not Ms. Scared."
// \{ことみ}「わたし、こまったさんじゃないもん」
<0216> \{Kotomi} "I'd like to go outside but..."
// \{ことみ}「お外は、行きたいけど…」
<0217> \{Kotomi} "I'll do that next time."
// \{ことみ}「またこんどにするの」
<0218> The mother bursts into laughter at her saying that.
// 彼女が言うと、母親がぷっと吹き出した。
<0219> I didn't understand exactly how this was funny.
// 俺にはどこが面白いのか、よくわからなかった。
<0220> \{Mother} "... well, shall we have a snack?"
// \{母}「…さあ、おやつにしましょう」
<0221> A freshly made sponge cake with a strange black tea, having the aroma of flowers.
// 焼きたてのカステラと、花の香りがする不思議な紅茶だった。
<0222> \{Kotomi} "This is mom's own made."
// \{ことみ}「お母さんの手づくりなの」
<0223> \{Kotomi} "It's very delicious."
// \{ことみ}「とってもおいしいの」
<0224> \{Kotomi} "Shall we eat?"
// \{ことみ}「いただきましょう」
<0225> \{\m{B}} "Let's eat..."
// \{\m{B}}「いただきます…」
<0226> Also reciting that in a hurry, I went for the piece that was straight in the center.
// 復唱もそこそこに、いちばん真ん中の一切れをつまんだ。
<0227> \{Kotomi} "\m{B}-kun, you know..."
// \{ことみ}「\m{B}くん、あのね……」
<0228> \{Kotomi} "The edge is delicious."
// \{ことみ}「はしっこの方が、おいしいの」
<0229> Compared to the flower names, she always took pride in saying so.
// 花の名前の時よりも、ずっと得意そうに教えてくれた。
<0230> On chilly days, the two of us read a book.
// 肌寒い日には、ふたりで本を読んだ。
<0231> I understood quickly that she was different from normal girls.
// 彼女が普通の子とちがうことは、すぐにわかった。
<0232> She read the book smoothly, despite having difficult characters with no \g{furigana}={In the Japanese language, often difficult kanji (or Chinese characters) also have characters that accompany them (often hiragana, one of the character sets) to make it easier for younger readers to be able to read them.}.
// むずかしい字ばかりでふりがなのない本も、すらすらと読みこなした。
<0233> \{Kotomi} "Writing is difficult but, if it's just reading, it's simple."
// 「書くのは、むずかしいけど、読むだけなら、かんたん」// game error
<0234> She said so, smiling only a little bit.
// そう言って、すこしだけ誇らしげに笑った。
<0235> Her favorite was a light-brown, brand new and fabulous book.
// 彼女のお気に入りは、茶色い革表紙が立派な、真新しい本だった。
<0236> Her father had bought her as congratulations on entering middle school.
// 小学校にあがったお祝いに、父親に買ってもらったと言った。
<0237> I was hard to please, so I was bored.
// 俺には難しすぎて、退屈だった。
<0238> \{Kotomi} "... it's not interesting?"
// \{ことみ}「…おもしろくない？」
<0239> Noticing how I was, she leaned her head, asking.
// 俺の様子に気づいて、首を傾げながら訊く。
<0240> \{\m{B}} "I don't really know what's being said."
// \{\m{B}}「どういう話か、よくわかんない」
<0241> \{Kotomi} "It's the same for me but..."
// \{ことみ}「わたしも、そうなんだけど…」
<0242> \{Kotomi} "Dad told me to read a lot of books."
// \{ことみ}「ご本をたくさん読みなさいって、お父さんが言ってたの」
<0243> \{\m{B}} "Something like this is too difficult."
// \{\m{B}}「むずかしすぎるよ、こんなの」
<0244> \{Kotomi} "He said that I didn't have to understand it yet."
// \{ことみ}「今はまだ、わからなくてもいいって」
<0245> \{Kotomi} "That I would definitely understand one day."
// \{ことみ}「いつかはきっと、わかるときが来るからって」
<0246> \{Kotomi} "That I wouldn't remember a lot of things."
// \{ことみ}「ことみには、覚えなければいけないことが、たくさんたくさんあるからって」
<0247> \{Kotomi} "See, I want to read all and all of the books in the world."
// \{ことみ}「わたしね、世界じゅうのご本、みんなみんな読みたいの」
<0248> \{Kotomi} "If I remember them all, it'll be very, very nice."
// \{ことみ}「いろんなことを覚えられたら、とってもとってもすてき」
<0249> \{Kotomi} "Don't you think so, \m{B}-kun?"
// \{ことみ}「\m{B}くんは、そう思わない？」
<0250> \{\m{B}} "Hmm, I guess..."
// \{\m{B}}「うん、そうだね…」
<0251> She gave a smile to my half-hearted reply.
// 生返事をする俺に、彼女は笑いかける。
<0252> She was really happy.
// 本当に、嬉しそうに。
<0253> \{Kotomi} "Ah, that's it! I thought of something good."
// \{ことみ}「あっそうだ。いいこと思いついたの」
<0254> \{Kotomi} "You can read just the good part."
// \{ことみ}「すてきなところだけ、読むの」
<0255> \{Kotomi} "And keep doing so until you remember."
// \{ことみ}「覚えるまで、なんどもなんども」
<0256> \{Kotomi} "Do that then, so that even if the book isn't around, you'll always remember."
// \{ことみ}「そうするとね。ご本がなくても、いつでも思い出せるようになるの」
<0257> \{Kotomi} "So, I'll start again."
// \{ことみ}「だからね、またはじめから」
<0258> With a lisp tone, she read the interesting scene.
// 舌足らずな口調で、お気に入りの場面を読んでいく。
<0259> After that, I followed.
// その後を、俺もたどっていく。
<0260> Surely, I wasn't a good student...
// 俺はきっと、出来の悪い生徒で…
<0261> yet she remained so patient, telling me many, many times...
// 彼女は根気強く、何度も何度も、俺に教え込んだ…
<0262> \{Kotomi} "This time, I'm having a birthday party."
// \{ことみ}「こんどね、わたしのおたんじょうかいがあるの」
<0263> She said, as the sunset glowed on her face.
// 夕映えを頬にはりつけて、彼女が言った。
<0264> It was the time when we were tired playing, taking a seat and watching the garden.
// 遊び疲れ、ふたりで座って、庭を見ていた時だった。
<0265> \{Kotomi} "And see, I'd like you to also come, \m{B}-kun."
// \{ことみ}「それでね、\m{B}くんにも、来てほしいの」
<0266> \{\m{B}} "How many are coming?"
// \{\m{B}}「何人ぐらい、来るの？」
<0267> I was reluctant to meet people I didn't know.
// 知らない人に会うのは、気が進まなかった。
<0268> \{Kotomi} "There are four in all."
// \{ことみ}「ぜんぶで四人なの」
<0269> She answered with pride.
// 自慢げに答える。
<0270> \{Kotomi} "\m{B}-kun, me, my mom, and..."
// \{\m{B}}「\m{B}くんと、わたしと、お母さんと…」 // game error! :o
// That makes it the third! Man, was key lazy on Kotomi's route, and is that why it's separate? -Amoirsp
<0271> \{\m{B}} "Who's the last one?"
// \{\m{B}}「あとひとりは？」
<0272> \{Kotomi} "My dad."
// \{ことみ}「お父さん」
<0273> \{\m{B}} "That's not a birthday party, is it?"
// \{\m{B}}「それじゃ、おたんじょうかいじゃないよ」
<0274> I say so frankly.
// 内心ほっとしながら、俺は言った。
<0275> \{Kotomi} "?"
// \{ことみ}「？」
<0276> \{\m{B}} "You have to have a lot of people at a birthday party..."
// \{\m{B}}「おたんじょうかいは、もっとたくさん人がいないと…」
<0277> Saying that, she had a slightly sad face.
// 俺がそう言うと、少しだけ悲しそうな顔をした。
<0278> \{Kotomi} "Is that so..."
// \{ことみ}「そうなんだ…」
<0279> \{Kotomi} "But, it's my birthday party."
// \{ことみ}「でも、おたんじょうかいなの」
<0280> \{Kotomi} "Dad's getting me a big stuffed bear as a present."
// \{ことみ}「お父さんがね、大きなくまのぬいぐるみを、プレゼントしてくれるの」
<0281> \{Kotomi} "Mom will be coming with a lot of food."
// \{ことみ}「お母さんがね、たくさんごちそうをつくってくれるの」
<0282> \{Kotomi} "And then..."
// \{ことみ}「それから…」
<0283> \{\m{B}} "...I have to head back soon."
// \{\m{B}}「…そろそろ帰らないと」
<0284> I stood up, feeling the atmosphere turn to dusk.
// 空気が夕闇をはらんできたのを感じて、俺は立ち上がった。
<0285> I might have been a bit jealous of her boasting about her parents.
// 自慢げに両親の話をする彼女が、少しだけうらやましかったのかもしれない。
<0286> Putting my socks and shoes on, I stepped down to the garden.
// 靴下をはいて、靴をはいて、ひとりで庭に降り立つ。
<0287> \{Kotomi} "See you tomorrow, \m{B}-kun."
// \{ことみ}「\m{B}くん、また明日」
<0288> As always, she'd say that.
// いつもどおり、彼女が言った。
<0289> \{\m{B}} "I might not come tomorrow."
// \{\m{B}}「明日は、来れないかもしれない」
<0290> And as always, I answer.
// いつもどおり、俺は答えた。
<0291> She looked straight at me, thinking of something.
// 彼女は俺をまっすぐに見つめ、何か考え込んでいた。
<0292> \{Kotomi} "You don't have to come tomorrow."
// \{ことみ}「明日は、来なくてもいいから」
<0293> \{\m{B}} "Eh...?"
// \{\m{B}}「えっ…？」
<0294> That was the first time she had said that.
// そんなことを言われたのは、初めてだった。
<0295> \{Kotomi} "Even if you don't come, I'll do my best..."
// \{ことみ}「明日は、来なくても、がまんするから…」
<0296> \{Kotomi} "But, please, please be sure to come to my birthday party."
// \{ことみ}「でも、わたしのおたんじょうかいは、きっときっと、来てね」
<0297> \{Kotomi} "Definitely, definitely come."
// \{ことみ}「かならずかならず、来てね」
<0298> \{Kotomi} "I'll be waiting."
// \{ことみ}「わたし、待ってるから」
<0299> \{Kotomi} "I'll be waiting..."
// \{ことみ}「待ってるから…」
<0300> I thought I should give her a present.
// プレゼントをあげなければ、そう思っていた。
<0301> The day of her birthday.
// 彼女の誕生日。
<0302> I didn't have anything she'd be interested in, and I didn't buy anything.
// I couldn't buy anything she could have wanted. ... is what I thought the second part was. -Amoirsp
// 彼女が気に入るような物はなにも持ってなかったし、なにも買えなかった。
<0303> So I thought I should just come as her friend.
// だから、彼女のために、友達をつれていってあげようと思ったのだ。
<0304> Even if it's just me, I'm sure she'll be glad.
// 俺ひとりでも、きっと喜んでくれただろう。
<0305> Even if it's just me, without a present, I should congratulate her.
// 俺ひとりだけでも、プレゼントがなくても、祝ってあげられただろう。
<0306> But... I wanted to buy something for her.
// でも…俺は彼女のために、何かしてあげたかったのだ。
<0307> I talked to the girls in the neighborhood.
// 近所の女の子たちに、俺から話しかけた。
<0308> Talking about the beautiful garden, the delicious snacks, and the slightly weird girl.
// きれいな庭や、おいしいお菓子や、ちょっと変わった女の子のことを話した。
<0309> Because it was her birthday party, I invited people.
// これから誕生会だからと誘った。
<0310> The girls only laughed in a troubled manner. None of them said, "Let's go together."
// 女の子たちは、困ったように笑い合うばかりで、「一緒に行く」とは誰も言ってくれなかった。
<0311> I even talked to the people I play with.
// いつもの遊び仲間にも話した。
<0312> They instead cruelly told me, "This guy's getting along with a girl!"
// 「こいつ、女と仲良くしてるぞ」と、ひどくからかわれた。
<0313> Running around with that idea in mind, they refused each time.
// 心当たりを全部巡って、そのたびに断られた。
<0314> Even at the end, my friends also refused, and when I realized, the day had completely darkened.
// 最後の友達にも断られて、気がつくと、とっぷりと日が暮れていた。
<0315> I thought that her birthday party might have already ended.
// 彼女の誕生会は、もう終わっていると思った。
<0316> I didn't show up at all.
// 会わせる顔がなかった。
<0317> I totter on the road home.
// とぼとぼと家路を辿った。
<0318> With only the sound of my footsteps, tears came to my eyes.
// ひとりぼっちの靴音に、涙がこみあげてきた。
<0319> Because I really liked her.
// 俺は彼女のことが、大好きだったから。
<0320> Even though it was night, I couldn't sleep.
// 真夜中になっても眠れなかった。
<0321> Because my father had done so, I snuck out of the house.
// 父親が寝てしまってから、ひとりで家を抜け出した。
<0322> I hadn't shown up at the birthday party, so I thought I had to apologize.
// 誕生会に出なかったことを、謝らなければいけないと思った。
<0323> And apologize for not having brought a present.
// プレゼントをあげられなかったことを、謝らなければいけないと思った。
<0324> Truth is, I really don't care how it went.
// 本当は、そんなことはどうでもよかった。
<0325> I just wanted to meet her.
// 俺はただ、彼女に会いたかったのだ。
<0326> And tell her, "See you tomorrow", as always.
// いつもどおりに、「また明日」と言ってくれる彼女に。
<0327> Not a single light protected the girl's house in the darkness. It was like a ghost castle or something.
// 闇に守られた彼女の家は灯かりひとつなく、幽霊の城のようだった。
<0328> The usual open hedge was the only thing I was courageous enough to go through.
// いつもの生け垣の破れ目から、ありったけの勇気で中に入った。
<0329> The completely dark garden was gloomy and terrifying.
// 真夜中の庭はひどく暗かった。
<0330> It's like everything had died.
// 全部が死んでしまっているようだった。
<0331> It's like the tables, the chairs, and even the flowerbed were all replaced with fakes.
// テーブルも椅子も花壇も、偽物に置き換えられているようだった。
<0332> I felt as if the sound of the insects moving became louder and louder.
// 虫の声は機械の音で、だんだん大きくなっていくように感じた。
<0333> \{\m{B}} "Kotomi-chan,"
// \{\m{B}}「ことみちゃん」
<0334> I softly called her name into the dark.
// 暗闇にそっと呼びかけてみた。
<0335> \{\m{B}} "Kotomi-chan, Kotomi-chan... Kotomi-chan,"
// \{\m{B}}「ことみちゃん、ことみちゃん…ことみちゃん」
<0336> No matter how much I waited, she didn't appear.
// いくら待っても、彼女が現れる気配はなかった。
<0337> There was a small opening at the glass door.
// ガラス戸の端に、ほんの少し隙間があった。
<0338> As if being invited, I opened the door and went to the living room.
// 誘われるように俺は戸を開き、居間に上がった。
<0339> It was much more gloomy than the garden.
// 庭よりももっと暗かった。
<0340> The air was stagnant and so cold, as if it were a vacant house from long ago.
// ずっと前から空き家だったように、空気はよどみ、冷えきっていた。
<0341> Hiding my footsteps, I continued into the room.
// 足音をひそめ、部屋の奧に進んだ。
<0342> It felt like I was doing something bad, but at the same time not something I'd call uncomfortable.
// 悪いことをしているという気持ちと、言いようのない不安がないまぜになっていた。
<0343> Not having come here myself for a while, it's not like many years had passed here, have they?
// 自分が来なかったほんの少しの間に、ここでは何十年も経ってしまったのではないか？
<0344> Not everything was a dream, was it?
// 全部が夢だったのではないか？
<0345> It's not like I wouldn't meet her, would I...?
// 彼女とはもう会えないのではないか？…
<0346> The smell of something burning.
// 何かが焦げる匂いがした。
<0347> I heard a crying voice.
// しゃくりあげる声が聞こえた。
<0348> ... she was crying!
// …彼女が泣いている！
<0349> I rushed ahead.
// 駆けだしていた。
<0350> I charged up the stairs in a hurry.
// 急な階段を、つっかかりそうになりながら上った。
<0351> Running into the door, I opened it up.
// 突き当たりの扉を、俺は開け放った。
<0352> She was there.
// 彼女はそこにいた。
<0353> She was just on the floor, crying like that.
// 床にぺたりと座り込んで、ただ泣きじゃくっていた。
<0354> It looks like something, maybe a book, was burning in front of her.
// 彼女の目の前で、何か本のようなものが燃えていた。
<0355> With an orange flame, it wavered, as if it were alive.
// オレンジ色をした炎が、生きものみたいに揺らめいていた。
<0356> I put out the fire.
// 俺は火を消そうとした。
<0357> I kept going back and forth from the kitchen with a cup of water many times.
// 台所まで走り、コップに水をくんで、何度も階段を往復した。
<0358> Even so, the fire did not stop, and the flames spread.
// それでも炎は消えず、絨毯に燃え移っていった。
<0359> Keeping myself calm, I came with water many times.
// 歯を食いしばって、何度も水をかけた。
<0360> When I thought it was all over, adults I didn't know came into the house.
// もう駄目だと思った時、知らない大人たちが部屋に入ってきた。
<0361> Taking off the clothes they wore, they flapped it at the flames, putting it out.
// 着ていた服を叩きつけるようにして、炎を消し止めた。
<0362> She was crying the entire time.
// 彼女はずっと泣いていた。
<0363> Covering her face with her small palms, all she did was cry.
// ちいさな手のひらで顔をおおって、ただ泣きじゃくっていた。
<0364> Like she had forgotten everything else other than how to cry.
// 泣くこと以外、全部忘れてしまったみたいに。
<0365> I covered her with my back.
// 俺は彼女を背中にかばった。
<0366> Because I was sure they'd be angry at her playing with fire.
// 火遊びのことを、きっと怒られると思ったからだ。
<0367> The adults picked up a completely black piece of scrap paper.
// まっ黒に焦げた紙くずを、大人たちは拾いあつめた。
<0368> And then, sitting down, they kindly talked with her.
// それから腰をかがめて、彼女にやさしく言った。
<0369> "This isn't it."
// 『これは違うよ』
<0370> "So you don't have to cry."
// 『だから、君は泣かなくていいんだ』
<0371> "Because this is something for your sake..."
// 『これは、君のためのものだから…』
<0372> Even so, she didn't stop her tears.
// それでも彼女は泣き止まなかった。
<0373> Everyone had such a sad face.
// みんな、ひどく悲しそうな顔をしていた。
<0374> I shouldn't have known what it was that had happened.
// 何が起こったのか、俺にわかるはずがなかった。
<0375> I just... felt it.
// ただ…これだけは感じた。
<0376> The smell of the smoking pipe, the pure white apron,
// パイプ煙草の匂いも、真っ白なエプロンも。
<0377> The beautiful garden, and even the strange girl...
// きれいな庭も、不思議な女の子も…
<0378> As if everything had ended.
// 全てが終わってしまったんだ、と。
<0379> On that note, I hadn't gone to that house.
// その家には、それきり行かなかった。
<0380> I returned to playing with the guys in my neighborhood.
// 俺は近所の男友達と、当たり前の遊びに戻った。
<0381> I forgot about the girl and the garden.
// あの庭のことも、女の子のことも、思い出さなくなった。
<0382> When was it that I had forgotten?
// いつの間にか、忘れてしまっていた。
<0383> Why did I forget?
// どうして忘れてしまったんだろう。
<0384> I should have forgotten...
// 忘れて、しまったんだろう…
<0385> ... a dream?
// …夢？
<0386> This is a, dream?
// これは、夢？
<0387> Where... am I?
// ここは…どこだろう？
<0388> I heard a sound from somewhere.
// どこからか、音が聞こえる。
<0389> An unfamiliar sound.
// 聞いたことのない音。
<0390> Even so, it was nostalgic.
// それなのに、懐かしい音。
<0391> I slowly open my eyes.
// ゆっくりと、目を開く。
<0392> \{Girl} "Umm..."
// \{女の子}「えっと…」
<0393> \{Girl} "Who might you be?"
// \{女の子}「あなたは、だあれ？」
<0394> \{Girl} "I was told not to let strangers come inside."
// \{女の子}「知らないひと、おうちに入れちゃいけないって、言われてるの」
<0395> \{\m{B}} "Where am I?"
// \{\m{B}}「ここはどこ？」
<0396> \{Girl} "My house."
// \{女の子}「わたしのおうち」
<0397> \{\m{B}} "Who are you?"
// \{\m{B}}「きみは、だれ？」
<0398> \{Girl} "Kotomi."
// \{女の子}「ことみ」
<0399> \{Girl} "My name has three characters, ko-to-mi."
// \{女の子}「ひらがなみっつで、ことみ」
<0400> \{Girl} "You can call me Kotomi-chan."
// \{女の子}「呼ぶときは、ことみちゃん」
<0401> \{\m{B}} "What's that?"
// \{\m{B}}「それ、なに？」
<0402> \{Girl} "A violin."
// \{女の子}「ヴァイオリン」
<0403> \{\m{B}} "Strange sound."
// \{\m{B}}「へんな音」
<0404> \{Girl} "I'm still not that good."
// \{女の子}「わたしはまだ、うまく弾けないの」
<0405> \{Girl} "But, when the teacher plays it, it has a really beautiful sound."
// \{女の子}「でも、先生がお弾きになると、とってもとってもいい音」
<0406> She had a slightly smiling face.
// 少しだけ、笑い顔になる。
<0407> Kotomi first gave me such a clumsy smile.
// ことみが最初に見せてくれた、ぎこちない笑顔。
<0408> ... yeah, that's right.
// …ああ、そうだ。
<0409> I know.
// わかっている。
<0410> This is a dream.
// これは、夢だ。
<0411> This was when we were still kids.
// 二人がまだ、ちいさな子供だった頃。
<0412> The time when I found something small and fun in all of this world.
// ちっぽけな幸せの積み重ねが、世界のすべてだった頃。
<0413> When I didn't know that sadness yet.
// まだ悲しみを、知らなかった頃。
<0414> I knew when I woke up, I would immediately come there.
// 目覚めが、すぐそこまで来ているのがわかった。
<0415> There was something I had to do.
// しなければいけないことがあった。
<0416> I went to meet Kotomi.
// 俺はことみを迎えに行く。
<0417> She was crying all alone in her room.
// ひとりぼっちの部屋で、今も泣いている。
<0418> That's why,
// だから。
<0419> I slowly, open my eyes...
// 俺は、ゆっくりと目を開いた…
<0420> \{Kotomi} "You woke up?"
// \{ことみ}「目がさめた？」
<0421> \{\m{B}} "Well..."
// \{\m{B}}「いや…」
<0422> \{\m{B}} "I might still be dreaming."
// \{\m{B}}「まだ、夢を見てるのかもしれない」
<0423> Kotomi was smiling in front of me.
// 俺の目の前で、ことみが微笑んでいる。
<0424> Seeing the same garden from before, as she stood there with that same smile.
// あの時と同じ庭を見て、同じ笑顔で立っている。
<0425> As if the dream were still continuing.
// まるで、夢の続きのように。
<0426> But, I was happy.
// ただ、幸せそうに。
<0427> \{Kotomi} "I remembered all this time."
// \{ことみ}「ずっと、憶えていたの」
<0428> \{Kotomi} "The boy that got lost in the garden."
// \{ことみ}「お庭に迷い込んできた、男の子」
<0429> \{Kotomi} "Visiting together, and reading books together,"
// \{ことみ}「いっしょにおままごとをして、いっしょにご本を読んで」
<0430> \{Kotomi} "Playing tag together, and playing hide-and-seek together,"
// \{ことみ}「いっしょにおにごっこをして、いっしょにかくれんぼをして」
<0431> \{Kotomi} "Sharing mom's sweets equally and eating them together..."
// \{ことみ}「お母さんのお菓子を、半分こして食べて…」
<0432> \{Kotomi} "I really, really liked that boy."
// \{ことみ}「私、その男の子のこと、とっても好きだったの」
<0433> \{Kotomi} "That's why..."
// \{ことみ}「だから…」
<0434> \{Kotomi} "I waited all this time."
// \{ことみ}「ずっと、待ってたの」
<0435> I gazed at Kotomi's eyes.
// ことみの瞳が、俺を見据える。
<0436> She was waiting for my words.
// 俺の言葉を待っている。
<0437> That's why... it's my turn this time.
// だから…今度は俺の番だ。
<0438> If it's now, I'll remember everything.
// 今なら、全部思い出せる。
<0439> About Kotomi's favorite verse in that book from that time. // run-on
// See if this functions better. -Amoirsp
// あの頃のことみが、いちばん好きだった本の一節。
<0440> Continuously reading it, those words remembered even if there was no book...
// Less literal, same meaning. -Amoirsp
// 繰り返し繰り返しふたりで読んで、本がなくても覚えてしまった会話…
<0441> And as always, I started.
// それはいつも、こんな風にはじまった。
<0442> \{\m{B}} "I suppose you traveled here by time machine." // DO NOT MODIFY
// \{\m{B}}「君はタイムマシンでここに来たんだね」
<0443> \{Kotomi} "Ah......"
// \{ことみ}「あ……」
<0444> Kotomi opened her eyes.
// ことみが瞳を見開いた。
<0445> She gazed at me, as if she couldn't believe it.
// 信じられないというように、俺のことを見据える。
<0446> All I did was wait for her to continue the words.
// 俺はただ、言葉の続きを待つ。
<0447> And then, Kotomi opened her mouth.
// そして、ことみが口を開いた。
<0448> \{Kotomi} "Yes. My father invented one." // DO NOT MODIFY
// \{ことみ}「ええ。わたしのお父さまが発明したの」
<0449> \{\m{B}} "And do you come here often?" // DO NOT MODIFY
// \{\m{B}}「なら、ここにはよく来るのかい？」
<0450> \{Kotomi} "Oh, yes. This is my favorite space-time coordinate." // DO NOT MODIFY
// \{ことみ}「もう何度も。ここはわたしのお気に入りの時空座標だから」
<0451> \{Kotomi} "I stand here for hours sometimes and look and look and look." // DO NOT MODIFY
// \{ことみ}「何時間いても飽きないの。ここから見えるものは、みんなみんなすてき」
<0452> \{Kotomi} "Day before yesterday I saw a rabbit," // DO NOT MODIFY
// \{ことみ}「おとといは兎を見たの」
<0453> \{Kotomi} "And yesterday a deer, and today, you." // DO NOT MODIFY
// \{ことみ}「きのうは鹿、今日はあなた」
<0454> And then, a smile, as if she was so happy.
// そうして、本当に幸せそうに笑った。
<0455> The Kotomi from the past had traveled through time, and smiled in front of me.
// Apparently in American spelling, it's traveled. In British spelling, it's travelled. We can debate this later. -Amoirsp
// あの頃のままのことみが、長い時を越えて、俺の目の前で笑っていた。
<0456> \{\m{B}} "I came to pick you up."
// \{\m{B}}「迎えに来た」
<0457> I reach out my hand.
// 俺は手を差し伸べた。
<0458> To the girl in this house that had been waiting for me all this time.
// この家で、俺のことをずっと待っていた、小さな女の子に。
<0459> \{\m{B}} "Let's go..."
// \{\m{B}}「行こう…」
<0460> To the outside world.
// 外の世界に。
<0461> To the place everyone's waiting.
// みんなが待っている場所に。
<0462> Even then...
// それなのに…
<0463> Kotomi covered her face with both her hands.
// ことみは、両手で顔を覆ってしまった。
<0464> \{Kotomi} "I knew, I knew..."
// \{ことみ}「わかってた、わかってたの…」
<0465> \{Kotomi} "Even if this came to be, nothing would come back."
// \{ことみ}「こんなことしても、なんにも戻ってこない」
<0466> \{Kotomi} "My clothes are different, there's no violin, and even my hair ornaments weren't like this."
// \{ことみ}「服もちがう、ヴァイオリンもない、髪飾りも、こんなじゃなかった」
<0467> \{Kotomi} "\m{B}-kun's also not such a small kid anymore."
// \{ことみ}「\m{B}くんも私も、もうちっちゃな子供じゃない」
<0468> \{Kotomi} "And my mom and dad won't come back ever again."
// \{ことみ}「お父さんもお母さんも、もう帰ってこない」
<0469> \{Kotomi} "No matter how many books I read, I won't be such a good person."
// \{ことみ}「どんなにたくさんご本を読んでも、私は立派な人にはなれない」
<0470> \{Kotomi} "No matter what pages I cut up, the things I know won't come back..."
// \{ことみ}「どんなにページを切り取っても、私のしたことは、取り返しがつかない…」
<0471> \{Kotomi} "Such a world is wrong."
// \{ことみ}「こんな世界なんて、まちがってる」
<0472> \{Kotomi} "Such a world without mom and dad is wrong."
// \{ことみ}「お父さんとお母さんのいない世界なんて、まちがってる」
<0473> \{Kotomi} "Why am I here?"
// \{ことみ}「どうして、私はここにいるの？」
<0474> \{Kotomi} "Why was I the only one left behind?"
// \{ことみ}「私だけ、残ってるの？」
<0475> \{Kotomi} "I wanted to go together with them."
// \{ことみ}「私も一緒に行きたかった」
<0476> \{Kotomi} "With mom and dad onto the airplane,"
// \{ことみ}「お父さんとお母さんと、一緒に飛行機に乗って」
<0477> \{Kotomi} "To sink down together to the bottom of the ocean..."
// \{ことみ}「一緒に海の底に、沈んでしまいたかった…」
<0478> \{\m{B}} "Don't!"
// \{\m{B}}「だめだっ！」
<0479> \{Kotomi} "Eh..."
// \{ことみ}「えっ…」
<0480> \{Kotomi} "Ah..."
// \{ことみ}「あ…」
<0481> \{\m{B}} "Please, I'm begging you..."
// \{\m{B}}「頼む、頼むから…」
<0482> \{\m{B}} "I'm begging you, don't say such sad words."
// \{\m{B}}「頼むから、そんな悲しいこと言わないでくれ」
<0483> \{\m{B}} "Because I like you, Kotomi."
// \{\m{B}}「俺は、ことみが好きだから」
<0484> \{\m{B}} "I'll be sad if you disappear, Kotomi."
// \{\m{B}}「ことみがいなくなったら、俺が悲しむから」
<0485> Because Kotomi's sadness is my own.
// ことみの悲しみは、俺の悲しみだから。
<0486> Because I didn't protect her in the most painful and saddest of times.
// いちばん辛くて悲しい時に、守ってやれなかったから。
<0487> I know.
// 俺は知っている。
<0488> Even now, Kotomi is here.
// ことみは今も、ここにいる。
<0489> Remaining with that sad heart from that day.
// あの日のままの、悲しい心で。
<0490> That's why, I came to pick her up.
// だから、俺は迎えに来た。
<0491> And bring her to that wide and cheerful, outside world.
// 広くて明るい、外の世界へ。
<0492> I wouldn't leave her all alone in this house anymore.
// ひとりぼっちの家の中に、もう置き去りにはしない。
<0493> \{Kotomi} "I..."
// \{ことみ}「私も…」
<0494> \{Kotomi} "I also like you, \m{B}-kun."
// \{ことみ}「私も、\m{B}くんが好き」
<0495> \{Kotomi} "I really, really like you."
// \{ことみ}「とってもとっても、大好き」
<0496> \{Kotomi} "I liked you ever since we first met..."
// \{ことみ}「はじめて会った時から、ずっと好きだったの…」
<0497> \{Kotomi} "But..."
// \{ことみ}「でも…」
<0498> \{Kotomi} "I'm scared."
// \{ことみ}「私、こわいの」
<0499> \{Kotomi} "Because I know."
// \{ことみ}「私は知ってるから」
<0500> \{Kotomi} "No matter how important the person, they'll disappear."
// \{ことみ}「どんなに大切な人も、いなくなってしまうから」
<0501> \{Kotomi} "Even the best of times will disappear."
// \{ことみ}「いちばんしあわせな時も、消えてしまうから」
<0502> \{Kotomi} "I know nothing of what to do."
// \{ことみ}「私には、どうすることもできないから」
<0503> \{Kotomi} "I can't stand being scared..."
// \{ことみ}「私、こわくてたまらないの…」
<0504> \{\m{B}} "I'm here."
// \{\m{B}}「俺はここにいる」
<0505> \{\m{B}} "I'm here, and right now, I'm looking at you, Kotomi."
// \{\m{B}}「俺はここにいて、今、ことみを見てる」
<0506> \{\m{B}} "And from now on, I'll always be right by you, watching."
// \{\m{B}}「これからもずっと、いちばんそばで見てる」
<0507> \{Kotomi} "But..."
// \{ことみ}「でも…」
<0508> \{Kotomi} "But, someday, we definitely won't meet."
// \{ことみ}「でも、いつかきっと、会えなくなるの」
<0509> \{\m{B}} "Yeah."
// \{\m{B}}「ああ」
<0510> \{\m{B}} "There's no way we can be together forever."
// \{\m{B}}「ずっと一緒にはいられない」
<0511> \{\m{B}} "The times when when we can't meet, I'll definitely come."
// \{\m{B}}「いつかは会えなくなる時が、きっと来る」
<0512> \{\m{B}} "I don't know if that will be common."
// \{\m{B}}「それがいつになるか、俺にはわからない」
<0513> \{\m{B}} "Maybe it'll be like right now."
// \{\m{B}}「もしかしたら、今なのかもしれない」
<0514> \{\m{B}} "But you know..."
// \{\m{B}}「でもな…」
<0515> I brush Kotomi's hair gently with my finger.
// ことみの髪を、指先でそっと撫でる。
<0516> Her childish hair ornaments swayed, as if waiting for my words.
// 子供っぽい髪飾りが、言葉を待つように揺れる。
<0517> \{\m{B}} "Even if I may one day disappear before you do, Kotomi,"
// \{\m{B}}「もしも俺が、ことみより先にいなくなったとしても」
<0518> \{\m{B}} "I'll always be by you."
// \{\m{B}}「俺はずっと、ことみのそばにいる」
<0519> \{\m{B}} "Even if you don't see me, and even if we can't talk to each other,"
// \{\m{B}}「俺のことが見えなくても、何も伝えられなくても」
<0520> \{\m{B}} "I'll always be watching you right by your side."
// \{\m{B}}「ことみのいちばんそばで、ずっとことみを見てるから」
<0521> \{\m{B}} "Because I'll always protect you, Kotomi."
// \{\m{B}}「俺はずっと、ことみを守るから」
<0522> \{\m{B}} "Even if we don't meet, I'll be right by you."
// \{\m{B}}「会えなくても、そばにいるから」
<0523> \{\m{B}} "So that you won't stop."
// \{\m{B}}「ことみが立ち止まってしまわないように」
<0524> \{\m{B}} "So that from today to tomorrow, you become much happier, Kotomi."
// \{\m{B}}「今日よりも明日、ことみがもっと幸せになれるように」
<0525> \{\m{B}} "That's why, I..."
// \{\m{B}}「だから、俺は…」
<0526> I tighten my grip on her arm.
// 腕にぎゅっと力を籠める。
<0527> On that of the girl who always waited for me.
// 俺のことを、ずっと待っていた少女。
<0528> The girl I met once again.
// 再び巡り会った少女。
<0529> In that open space, in the years forgotten.
// 開いてしまった空白ごと、忘れていた年月ごと。
<0530> Treating her so kindly.
// うんとやさしくしてやるんだ、と。
<0531> \{Kotomi} "See, I..."
// \{ことみ}「私ね…」
<0532> \{Kotomi} "I'm a crybaby..."
// \{ことみ}「私、泣き虫だから…」
<0533> \{Kotomi} "If you disappear, \m{B}-kun, I'll surely cry."
// \{ことみ}「\m{B}くんがいなくなったら、きっと泣いてしまうから」
<0534> \{Kotomi} "My tears might not stop."
// \{ことみ}「涙がとめられないかもしれないから」
<0535> \{Kotomi} "Even if you'll be beside me, I might not notice you."
// \{ことみ}「そばにいてくれても、気づかないかもしれないから」
<0536> \{Kotomi} "I might come to hate you, \m{B}-kun."
// \{ことみ}「\m{B}くんのこと、嫌いになるかもしれないから」
<0537> \{Kotomi} "Even then..."
// \{ことみ}「それでも…」
<0538> \{Kotomi} "You'll always be with me?"
// \{ことみ}「ずっと、一緒にいてくれる？」
<0539> \{\m{B}} "Yeah."
// \{\m{B}}「ああ」
<0540> \{Kotomi} "You'll always be watching me?"
// \{ことみ}「私のこと、ずっと見ていてくれる？」
<0541> \{\m{B}} "Yeah."
// \{\m{B}}「ああ」
<0542> \{Kotomi} "Even if we don't meet, you'll be watching me?"
// \{ことみ}「会えなくなっても、見ていてくれる？」
<0543> \{\m{B}} "I swear."
// \{\m{B}}「約束する」
<0544> \{\m{B}} "Because that's my happiness."
// \{\m{B}}「それが俺の幸せだから」
<0545> \{Kotomi} "But..."
// \{ことみ}「でも…」
<0546> \{\m{B}} "No more buts."
// \{\m{B}}「でも、はもうなしだ」// // if you got enough points with Kotomi continue, else goto 576
<0547> \{Kotomi} "Yup."
// \{ことみ}「うん」
<0548> \{Kotomi} "But, but..."
// \{ことみ}「でも、でもね…」
<0549> \{Kotomi} "Right now..."
// \{ことみ}「今は…」
<0550> \{Kotomi} "Because you're here, \m{B}-kun,"
// \{ことみ}「\m{B}くん、ここにいるから」
<0551> \{Kotomi} "Because you came to pick me up,"
// \{ことみ}「私のこと、迎えに来てくれたから」
<0552> \{Kotomi} "Because you're so warm, \m{B}-kun,"
// \{ことみ}「\m{B}くん、とっても温かいから」
<0553> \{Kotomi} "Because I like you so much, \m{B}-kun," // damn, that's a lot of because's --velocity7
// \{ことみ}「私、\m{B}くんのこと、とってもとっても大好きだから」
<0554> \{Kotomi} "That's why..."
// \{ことみ}「だから…」
<0555> \{Kotomi} "I don't want to just watch."
// \{ことみ}「見てるだけじゃ、いやなの」
<0556> Our lips met.
// 唇を重ねた。
<0557> It was smooth, damp, soft, and warm.
// なめらかで、湿っていて、柔らかくて、温かかった。
<0558> Why was it that I longed for this?
// なぜだろう、懐かしいと思った。
<0559> The small girl that waited all this time for me.
// ずっと俺を待っていた、ちいさな女の子。
<0560> The one closest to me is Kotomi.
// いちばん近くに、ことみがいる。
<0561> And she'll be with me from now on...
// これからも、ずっとそばにいる…
<0562> We part lips softly.
// 唇をそっと離してみる。
<0563> \{Kotomi} "\m{B}-k..."
// \{ことみ}「\m{B}く…」
<0564> Kotomi called me over her breath.
// 息を継いだことみが、俺を呼ぼうとする。
<0565> \{Kotomi} "Mmm..."
// \{ことみ}「んっ…」
<0566> And our lips met once again.
// もう一度、唇を塞ぐ。
<0567> I embraced Kotomi more deeply.
// もっと強く、ことみを抱きしめる。
<0568> Because I was here.
// 俺はここだから、と。
<0569> Kotomi's voice, hair, warmth, and the way she feels...
// ことみの声、ことみの髪、ことみの温もり、ことみの感触…
<0570> So that I would always remember.
// ずっと憶えておくために。
<0571> Even if, for example, I should disappear from this world.
// たとえ俺が、この世界からいなくなっても。
<0572> Even if my existence should someday disappear.
// 俺という存在が、いつか消えてなくなったとしても。
<0573> So that Kotomi and I would be one, far, far back in the past...
// ずっとずっと昔から、俺とことみはひとつだったんだ、と…
<0574> And then...
// そして…
<0575> We sat together on the floor.
// 俺たちは、並んで床に座っていた。
<0576> We remained barefoot, our shoulders touching, while we were gazing at the golden-dyed house.
// ふたり素足のまま、肩を触れ合わせて、黄金色に染まっていく庭を眺めていた。// goto 591
<0577> Our lips met.
// 唇を重ねた。
<0578> Why was it that I longed for this?
// なぜだろう、懐かしいと思った。
<0579> The small girl that waited all this time for me.
// ずっと俺を待っていた、ちいさな女の子。
<0580>The one closest to me is Kotomi.
// いちばん近くに、ことみがいる。
<0581> And she'll be with me from now on...
// これからも、ずっとそばにいる…
<0582> Our lips part softly, and then come together again.
// 唇をそっと離し、もう一度塞ぐ。
<0583> I embraced Kotomi more deeply.
// もっと強く、ことみを抱きしめる。
<0584> So that I would always remember.
// ずっと憶えておくために。
<0585> Even if, for example, I should disappear from this world.
// たとえ俺が、この世界からいなくなっても。
<0586> Even if my existence should someday disappear.
// 俺という存在が、いつか消えてなくなったとしても。
<0587> So that Kotomi and I would be one, far, far back in the past...
// ずっとずっと昔から、俺とことみはひとつだったんだ、と…
<0588> And then...
// そして…
<0589> We sat together on the floor.
// 俺たちは、並んで床に座っていた。
<0590> Our shoulders were touching, while we were gazing at the golden-dyed house.
// ふたり肩を触れ合わせて、黄金色に染まっていく庭を眺めていた。
<0591> So that it would always be like back in our childhood.
// 子供の頃からずっと、そうしていたように。
<0592> Kotomi said nothing.
// ことみは、なにも言わなかった。
<0593> For each and every minute, the light and wind was calm.
// 光と風が、一秒ごとにやさしくなっていく。
<0594> Kotomi stood there, as if pulling towards herself.
// 引き寄せられるように、ことみが立ち上がる。
<0595> Doing that, she got down to the garden.
// そうして、庭に降り立った。
<0596> Kotomi's bare feet touched the grass.
// ことみの素足が草に触れた。
<0597> Her hair swayed wide, as if to reveal a secret.
// 秘密をささやくように、長い髪が膨らんだ。
<0598> I followed after.
// 俺もその後に続いた。
<0599> Kotomi took a quiet breath... staring at the garden.
// ことみは静かに息を吸い…ゆっくりと庭を見わたした。
<0600> \{Kotomi} "The wind's blowing..."
// \{ことみ}「風、吹いてる…」
<0601> \{Kotomi} "The lawn feels so good."
// \{ことみ}「芝生、とっても気持ちいいの」
<0602> \{Kotomi} "The smell of new paint."
// \{ことみ}「あたらしいペンキのにおい」
<0603> \{Kotomi} "The smell of the earth and the grass."
// \{ことみ}「土と草のにおい」
<0604> \{Kotomi} "The smell of the beautiful flowers."
// \{ことみ}「きれいなお花のにおい」
<0605> \{Kotomi} "The birds' song."
// \{ことみ}「鳥の声」
<0606> \{Kotomi} "The sound of the tree leaves swaying."
// \{ことみ}「木の葉がゆれる音」
<0607> \{Kotomi} "The day is gradually becoming warmer..."
// \{ことみ}「お日さま、じんわり温かい…」
<0608> She puts her hand to the light that leaks through the tree blocking the light.
// 手のひらを合わせ、木もれ日を掬おうとする。
<0609> \{Kotomi} "Even though I don't see it, I do."
// \{ことみ}「見えないのに、見えるの」
<0610> \{Kotomi} "Even though I don't feel it, it's warm."
// \{ことみ}「さわれないのに、温かいの」
<0611> \{Kotomi} "It's really strange..."
// \{ことみ}「とっても不思議…」
<0612> She said what she noticed one by one.
// 気づいたことを、ひとつひとつ口にする。
<0613> And then, she noticed the leather cover book seated on the table.
// そうして、テーブルに置かれている革表紙の本に気づいた。
<0614> There was no need to look at the worn pages again.
// 古ぼけたページを再び開く必要はなかった。
<0615> Because the continuation of that story was for us to create.
// 物語の続きは、俺たちふたりで創っていくのだから。
<0616> \{Kotomi} "Day before yesterday I saw a rabbit," // DO NOT MODIFY
// \{ことみ}「おとといは兎」
<0617> \{Kotomi} "And yesterday a deer," // DO NOT MODIFY
// \{ことみ}「きのうは鹿」
<0618> \{Kotomi} "And today, you..." // DO NOT MODIFY
// \{ことみ}「今日は、あなた…」
<0619> Her eyes gazed at me.
// 俺を見つめる瞳。
<0620> \{Kotomi} "You're \m{B}-kun."
// \{ことみ}「あなたは、\m{B}くん」
<0621> Carrying a certain light,
// たしかな光を宿す。
<0622> \{Kotomi} "\m{B}-kun is \m{B}-kun."
// \{ことみ}「\m{B}くんは、\m{B}くん」
<0623> Whispering my name,
// 俺の名をささやく。
<0624> \{Kotomi} "My most important person."
// \{ことみ}「私の、いちばん大切なひと」
<0625> We tied our hands together.
// ふたり、手を繋ぐ。
<0626> As if to never let go ever again.
// もう二度と、離れないように。
<0627> \{\m{B}} "Kotomi,"
// Is this really a comma due to continuation? -Amoirsp
// \{\m{B}}「ことみ」
<0628> \{\m{B}} "Let's head out together."
// \{\m{B}}「ふたりで、外に行こう」
<0629> \{\m{B}} "It's all right, don't be scared."
// \{\m{B}}「大丈夫、恐くない」
<0630> \{\m{B}} "Because we'll always be together."
// \{\m{B}}「ずっと一緒だから」
<0631> Kotomi nodded.
// ことみは、こくりと頷いた。
<0632> Outside was evening.
// 外は、夕暮れだった。
<0633> Slanted spotlights blurred on the residential district road.
// 住宅街の道が、傾いた光に滲んでいた。
<0634> Kotomi was timid, remaining barefoot.
// 素足のままのことみが、恐る恐る様子を窺う。
<0635> It was as if it was her first time leaving the house, like a little child.
// 初めて家から外に出た、小さな子供みたいに。
<0636> The first time standing on a sandy beach, like her feet being soaked by the waves.
// 初めて砂浜に立ち、波に素足をひたすように。
<0637> \{Kotomi} "... it's such a strange feeling."
// \{ことみ}「…とっても、不思議な感じ」
<0638> She smiles brightly.
// ほわっと笑う。
<0639> Like that, she lifted her head.
// そのまま顔を上向ける。
<0640> Narrowing her dazzling eyes, she looked up at the wide sky.
// 眩しそうに目を細め、ことみは広がる空を仰ぐ。
<0641> The fragmented clouds were dyed red, reflecting in Kotomi's eyes.
// 千切れた雲が茜色に染まり、ことみの瞳に映しこまれる。
<0642> Kotomi has been like this for a very long time.
// ずいぶん長いこと、ことみはそうしていた。
<0643> It was as if she remembered that there was a sky there just now.
// そこに空があることを、たった今思い出したように。
<0644> The outside world.
// 外の世界。
<0645> The tall, tall sky that goes on forever.
// どこまでも続く、高い高い空。
<0646> And there were many unknown futures, waiting for us.
// そこには俺たちの知らない未来が、たくさん待っている。
<0647> \{Kotomi} "The sky is so beautiful..."
// \{ことみ}「お空、とってもきれい…」
<0648> \{\m{B}} "Yeah."
// \{\m{B}}「ああ」
<0649> \{\m{B}} "It's beautiful."
// \{\m{B}}「きれいだな」
<0650> I let Kotomi smile.
// 俺は、ことみに笑いかけた。
<0651> I let the person I'd always be with from now on smile.
// これからずっと、一緒に歩いていくひとと。
<0652> "Even if you don't see him, he's watching you." // double-check against previous lines
// 『見えなくても、見てる』
<0653> "Even if you don't meet, he's right by you." // double-check against previous lines
// 『会えなくても、そばにいる』
<0654> Even though the time we part ways will come...
// いつかふたり、別れる時が来るとしても…
<0655> Right now at this time, in this world,
// 今この瞬間、この世界の中で。
<0656> I felt Kotomi, and Kotomi felt me.
// 俺はことみを感じ、ことみは俺を感じていた。
</pre>
</div>

User talk:Dgreater1

2007-10-18T07:36:44Z

Dgreater1: Well, just cleaning...

== Translating other people's routes ==

You can go for it. After all, the purpose of this wiki was to allow other translators to translate what other people are working on, because of situations such as your own. :)

Basically, simply resume from where someone left off (or overlap if you've translated that area too, and revise as necessary). Just in case SirAnonymous comes asking, simply note in the SEEN page that you are translating as well.

--[[User:Velocity7|velocity7]]

== Kotomi references things ==

Ummmmm...you're probably aware of this, but...there's no note, and I'm too nervous to edit anything myself, so: on SEEN4418, on <0494> and <0495> (「おとといは兎を見たの」「きのうは鹿、今日はあなた」), the quote Kotomi says is from a short story by Robert F. Young called "The Dandelion Girl". The original English text from this part of the story goes, if I'm not mistaken: "Day before yesterday I saw a rabbit, and yesterday a deer, and today, you." --[[User:24.221.176.159|24.221.176.159]] 00:11, 14 April 2007 (PDT)

Also, in SEEN4425, on <0515> and <0516> (「てぃび、まぐぬむ、いのみなんどぅむ、しぐな、すてらるむ…」「にぐらるむ、え、ぶふぁにふぉるみす、さどくえ、しじるむ」), Kotomi is saying "Tibi, magnum Innominandum, signa stellarum nigrarum et bufaniformis Sadoquae sigilim"--see http://en.wikipedia.org/wiki/De_Vermis_Mysteriis --[[User:24.221.176.159|24.221.176.159]] 11:00, 14 April 2007 (PDT)

: Thanks a lot for the info (Mister 24.221.176.159), that really helps, now I'm not as clueless as Tomoya =P --[[User:Dgreater1|Dgreater1]] 14:06, 14 April 2007 (PDT)

== About the Language Reversal ==

Okay after thinking about it, I do realise what you mean in a much better sense. Rather than taking it at face value, you're determining a ratio that flows continuously. Though, the academic schedule among with things in the game for the most part are still Japanese. Fortunately Sunohara's bad English is really well implied to the degree that you can deliberately misspell and be accurate. -Amoirsp
:Okay, when you make THAT point, I'll have to agree. (Well more like I'll say yes let's go ahead with that even if I personally wouldn't mind it like that). I think I have to remember that we don't see the Japanese text anymore (and I love literally translating, so obviously seeing "English" I'd rather put "English"). I'll look at it this way then. For combination of English and Japanese (your examples), a reversal does sound good. For something like "Ryou is speaking fluent English." then let it be. I'm not too fond of changing the English grammar class to Japanese (probably because people know it's a Japanese game). The books, I'd say it's unnecessary to switch (since all the ones Kotomi read are too advanced, for example.) When I was trying to state my point, I was only thinking of the scissors and the books, so I failed to think about the Miyazawa route and well, since we haven't translated the last part of Kotomi's route, so I didn't think of that. BUT, about the Kotomi ending, wouldn't that "English text" have to be changed then?
:: Speaking of Kotomi's route, since she has no synergy to ANY other route in the game, I personally think Kotomi having personal quirks are fine even if they're inconsistent. What I mean is, even though other characters say un (ex: Ryou), you only encounter Kotomi under Kotomi scenes, AND the fact that she is always pointed out as much different (along with the tsukkomi effect and the vast knowledge of information we don't know of), that things like un and uun for her route alone, should be fine. The more different, the more weird Kotomi is, so it's ironically more fitting to the character. Heck, everyone that's involved in Kotomi's route in a way, get weirder (repetition, blank looks, hesitation, strange communication, self confusion). (Or maybe I have a personal preference of an overall route having certain flavour of the main translator of the route) ... or maybe Kotomi is just more complicated by default because of so many references, as I don't think the other girls are as complicated, even if they could be equally weird, they seem slightly more simple.
:::Anyhow let's go with your plan then. I'll just make sure I ignore reading "English" in the "Japanese text", so I don't think about it. I should remember this is a visual novel translation, not fansubbing (where I look at that as "we're telling you what they're saying in Japanese in English.") -Amoirsp
::::...We should be aware of the fact that Kyou carries every type of language dictionary that has Japanese with it (Japanese-Chinese/French/English/etc). -Amoirsp

== -san ==

I think in Japanese it is entirely possible to add -san to even something like an object.

Remember, books are friends! So a bookstore is like a family! (The bookstore thing I made up for no apparent reason)

... Thus you end up saying Honya-san, the place filled with friends. Anyways, I don't think -san is limited to people, and given the way Kotomi is, this isn't surprising at all. Of course, since this is a translation to English, there is no need to add -san. Well, it's still possible, but sounds weird to say bookstore-san, lol.

On a random note, someone who carries a lot of books can be joking called Honya-san because that person is like a bookstore. This occurs in Negima, and I believe it also occurs in other manga/anime that have a character that has lots of books (oh and likes books, and read books, so it's not like Kyou who has at least one type of dictionary).

~Amoirsp

User:Dgreater1

2007-10-18T07:23:04Z

Dgreater1: Just a minor update

User talk:Dgreater1

2007-10-16T14:28:59Z

Dgreater1: Just a minor reminder that I'm still kicking (not the bucket)

User:Dgreater1

2007-09-09T14:35:43Z

Dgreater1: The return of DG1

I'm Rizaldo M. Ibarra (now that's what I call a very heroic name ^^;) just your average person who pops in and out without warning. I'm mostly away due to plenty of reason so don't be all work up if you can't contact me ^_^. Anyway, this is my first time being on a project, but I'll try hard not to disappear as much as possible... (might disappear because of work [they might send me to some isolated province to be a part of a surveyor team])...

Anyway, I noticed my translation style changed a bit once again...

* I try to be as literal as possible when it comes to dialogues but when it comes to narrations, my priority is to interpret what the line is trying to convey and to make sure that it's making some sense. I use the most common words in the dictionary to make sure that the line is understandable and I don't use too much idiomatic expression.

* I leave comments to lines I'm not really sure I translated correctly. I also put comments to explain lines I understood but don't think I translated correctly.

* I try to translate dialogue and maintain the context but at the same time, try to match the syllables with the original Japanese line.

* I leave the lines I completely don't understand or have doubts with or I might just add "*" at the end of that line.

You have complaints? Go to the police station and complain all you want (just kidding ^_^;)

:"Bah! Sorry for my sudden disappearance again. I thought my sister has already paid the DSL bill but suddenly, they cut if off because she didn't pay it X_X. And I needed to go to some province because of work. I just hope she'll be able to reconnect the net this month before I go home for good. By the way, I've translated SEEN4513, SEEN4800, and SEEN4904 (I've skipped SEEN4512 because my friend who asked if he could work on it told me to wait for him to finish it XD) and rechecked SEEN4420 to SEEN4424. SEEN4512 should be the only untranslated SEEN on Kotomi's route. Anyway, I can't put the updated file yet though, because I'm just renting and this computer doesn't support Japanese language. I'll be gone for a while again (province), project's not over yet :3

User:Dgreater1

2007-07-02T06:04:12Z

Dgreater1: Minor Update

Clannad

2007-06-20T09:36:55Z

Dgreater1: Translator Update

[[Image:Clannad_Main.jpg|thumb|right|240px|''Promotion image from [http://www.mirai.ne.jp/~gotop/ ごとP] for the Another Story novel compilation'']]
== Updates ==
* January 22, 2007 - Project announcement!
* January 23, 2007 - Switched from spreadsheets to Kepago files
* January 29, 2007 - Development website posted
* February 5, 2007
** zefgame joins the だんご大家族 club :3
** New screenshots at the [http://clannad.thewafflehouse.net development website]!
* February 9, 2007 - We've hit the 20% translation mark! Thank you everyone for your support!
* February 24, 2007 - Translation now stands at 25%. :)
* April 14, 2007 - Kyou's route complete, translation status: 42%
* May 17, 2007 - Tomoyo's route complete, translation status: 53%

== Summary ==
Clannad is an all-ages visual novel adventure developed by Key/VisualArts, released in 2004. More information is available at the Wikipedia entry located [http://en.wikipedia.org/wiki/Clannad_%28game%29 here].

This is a resurrection of the translation project effort that started in 2005. Originally run by Soulfang, this new resurrection is an open collaboration started by [[User:Velocity7|velocity7]]. As this is an experimental project, people should take heed to how this is being handled. Please see below for more details.

Please note, that Baka-Tsuki hosts only the Translated text, and as such, no images or game files are hosted here.

'''ALL TRANSLATORS ARE WELCOME!!'''<br />
<small>(<i>so as long as you do Japanese -> English</i>)</small>

A webpage involving development details, screenshots, and download content is available [http://clannad.thewafflehouse.net here].

If you wish to contact us, either do so via the main [[Talk:Clannad|Talk pages]], or visit us on IRC at [irc://irc.rizon.net/Baka-Tsuki irc.rizon.net @ #Baka-Tsuki].

==Project Staff ==

*Project Administrator: [[user:velocity7|velocity7]]
*Project Supervisor: ''None Designated''

This project is brought to you by the Drama Club/Dango Daikazoku （演劇部／だんご大家族）. The current staff involved are:
* [http://www.thewafflehouse.net TheWaffleHouse]
* [http://sprocket-hole.ian-justman.com Sprocket-Hole Subs]
* [http://www.baka-tsuki.net Baka-Tsuki]
* [http://www.lostreverie.com/ zefgame]

Special thanks goes to the following people/groups:

*Haeleth
**Developed ([http://dev.haeleth.net/rldev.shtml RLdev]), the RealLive tool designed for CLANNAD patches (apparently so it says on the website)
*[http://radicalr.pestermom.com/ Non-Directional Translations]
**Hacking assistance with RealLive
*[[User:JRaiKetchum|JRaiKetchum]]
**Helped deal with the anti-aliasing problem
*[[User:RasqualTwilight|RasqualTwilight]]
**Documented the internals of the PAK archives

== Translation Status ==
Currently, we are in the '''TRANSLATION''' phase. This means that all files are currently being translated at this time, and when completed, will require revisions/editing for later. There is no ETA on when this phase will be completed. Concurrent phases to complete are:

*Revision phase - finding untranslated or mistranslated lines, references, etc.
*Beta phase - making sure the entire game has been translated with no issues, including game logic, variable references, etc.
*Editing phase - final phase, all files can undergo editing to ensure consistency, grammar, etc.

Please note that, if any groups are interested in using the script files for their own CLANNAD translation project, such as a foreign language, please contact the Project Administrator for permission to do so. However, please be advised that, unless the Revision phase has passed, we cannot guarantee the accuracy or cleanliness of the translation at this time, and therefore advise that you hold off on such requests until that happens.

== Development Status ==
[[User:Velocity7|velocity7]] has recently written a program that will facilitate download of the SEEN files from the SEEN pages on the wiki. It is ''highly suggested'' that you at least follow the Guidelines or use the <pre> tags so that this program may work more efficiently, and thus, allow for the ability to create internal patches for testing.

We are looking for people who are willing to help deal with the following problems listed below. You should have experience (or willing to gain) experience with the RealLive kepago files, the GAMEEXE.INI, or have enough hacking knowledge to hex edit the RealLive.exe. The items in question are:

*'''Bugs'''
**Return to Previous Selection button is disabled whenever rlBabel is active.
**\size{} causes the indentation to screw up if used before a ( or " character.
*'''Additions'''
**Handler for hypertext, so that instead of using a standard window, a window using the in-game CLANNAD graphics appears with the actual text.
*'''Features'''
**How to create .PAK files
**Search priority for RealLive assets<br/>(e.g., should search local directory then install area, rather than the other way around)<br/>(install area: full means HDD, minimal means CD)
**Coding in a handler for making the hypertext blink or highlight when the mouse hovers over the gloss (and when clicked, there should be a handler for the gloss itself, so that it can blink faster or highlight faster, etc.)

If you would like to help out, please visit the [http://forums.visualnews.net/showthread.php?t=7534 forum thread].

For people who are interested in the various versions of RealLive, [[User:RasqualTwilight|RasqualTwilight]] has put up a [[User:RasqualTwilight/RealLive|list]] of versions you might want to have a look at.

== Guidelines ==
Generally speaking, the [[Format_guideline|guidelines]] associated with the Suzumiya Haruhi novel translation project can be followed, but there are several amendments that have been made in order to accomodate the unorthodox nature of this project. Please see the '''[[Clannad:Guidelines|Clannad Guidelines]]''' for details.

'''If you wish to make a translation contribution and cannot abide by the Guidelines for any reason, post the text in <pre> tags, and mark the top of the page with <nowiki>{{Clannad:Cleanup}}</nowiki>. A Project Editor will handle the transfer into an acceptable format.'''

Pages will be marked at the top, either by:
*<nowiki>{{</nowiki>[[Template:Clannad:Translating|Clannad:Translating]]<nowiki>}}</nowiki>, to indicate translation is underway. Pages are categorized under [[:Category:ClannadTranslating]].
*<nowiki>{{</nowiki>[[Template:Clannad:Cleanup|Clannad:Cleanup]]<nowiki>}}</nowiki>, to indicate cleanup is necessary. Pages are categorized under [[:Category:ClannadCleanup]].
*<nowiki>{{</nowiki>[[Template:Clannad:Recode|Clannad:Recode]]<nowiki>}}</nowiki>, to indicate that the page needs or has undergone Kepago cleanup. Pages are categorized under [[:Category:ClannadRecode]].
*<nowiki>{{</nowiki>[[Template:Clannad:Alternate|Clannad:Alternate]]<nowiki>}}</nowiki>, to indicate that an alternative translation is available.

== Translators ==
This is the Project Translation Team.

<table border="0" cellspacing="0" cellpadding="0"><tr><td valign="top">
'''ACTIVE'''
<table border="0" cellspacing="0" cellpadding="0"><tr><td valign="top">
*[[User:DGreater1|DGreater1]]<br />''Main Translator''
*[[User:Velocity7|velocity7]]<br />''Project Administrator''
</td><td valign="top">
*[[User:Mashu|Mashu]]
*[[User:SirAnonymous|SirAnonymous]]
*[[User:LianYL|LianYL]]
*[[User:Proteenx11|Proteenx11]]
*[[User:Kwok|kwok]]
*[[User:Jc100|Jc100]]
</td></tr></table>
</td><td valign="top">
'''A.W.O.L.'''
*[[User:Rabidkimba|rabidkimba]]
</td></tr><tr><td valign="top">
'''M.I.A.'''
*[[User:FatPianoBoy|FatPianoBoy]]
</td><td valign="top">
'''K.I.A.'''
*[[User:Phenie|Phenie]]
*[[User:Tashi|tashi]]
*[[User:TheFish|TheFish]]
</td></tr></table>

'''Contribution-only (no commitment):'''
<table><tr><td valign="top">
[http://forums.visualnews.net VisualNews Forums]
*[[User:Omgwtflolz|Omgwtflolz]]
*[[User:Carl|Carl]]
</td></tr></table>

Also a big thanks to [[User:Sushi-Y|Sushi-Y]], for providing guidance on the direction of the translation.

Another special thanks goes to Japanese-native [[User:Akiha|akiha]], for providing technical help on translation accuracy.

If any user spots any activity from Translators not on the active list, please feel free to swap their status. Any Translators who have not displayed any activity for one month should be moved to the A.W.O.L. status, at two months the M.I.A. status, and finally at three months, they will be sadly moved to the K.I.A. status. (R.I.P)

Translators that have proposed to translate for the game but have not translated anything as of yet should not be listed, as to avoid any misleading information.

--[[User:Velocity7|velocity7]], 9:44, 14 March 2007 (EST)

== Editors ==
This is the Project Editorial Team. They will regularly patrol the project to prevent vandalism & make sure the guidelines are implemented. If you have any inquiries about the current edited version of a script, such as translation nuances or improvements to the editing, please make changes as you see fit.

*[[User:Velocity7|velocity7]] (Project Administrator)
*[[User:Amoirsp|Amoirsp]]
*[[User:Kotarou|Kotarou]]
*[[User:Springrequiem|Springrequiem]]
*[[User:Umiman|Umiman]]
*[[User:IRJustman|IRJustman]]
*[[User:SenoWaffle|SenoWaffle]]

'''Graphics Editors'''
*[[User:Fireshark|fireshark]]
*[[User:RaptorFB|RaptorFB]]

{{Clannad:ScriptInstructions}}
{{Clannad:ScriptChart}}
[[Category:Hosted_Projects]]

User:Dgreater1

2007-06-16T08:19:58Z

Dgreater1: Some minor update

I'm Rizaldo M. Ibarra (now that's what I call a very heroic name ^^;) just your average person who pops in and out without warning. I'm mostly away due to plenty of reason so don't be all work up if you can't contact me ^_^. Anyway, this is my first time being on a project, but I'll try hard not to disappear as much as possible... (might disappear because of work [they might send me to some isolated province to be a part of a surveyor team])...

Anyway this is how I translate...

* I'm faithful to the original but if by chance the flow of the translation doesn't look good or not making any sense if the literal/complete context is maintained, I use a different approach and use the most common words from the dictionary. But that mostly happen, whenever I'm unable to manipulate the context correctly to have a sensible translation.

* I leave comments to lines I'm not really sure I translated correctly. I also put comments to explain lines I understood but don't think I translated correctly.

* I try to translate dialogue and maintain the context but at the same time, try to match the syllables with the original Japanese line.

* I leave the lines I completely don't understand or have doubts with.

You have complaints? Go to the police station and complain all you want (just kidding ^_^;)

I'll be away for a while due to some field stuffs, don't really know when will I be back, might be 1 to 3 weeks depending on the field work T_T --[[User:Dgreater1|Dgreater1]] 01:19, 16 June 2007 (PDT)

Talk:Clannad:SEEN7600

2007-05-31T22:50:30Z

Dgreater1: /* How Sunohara calls Kappei */

== How Sunohara calls Kappei ==

To make things realistic...

*Sunohara calls Kappei a "cute one" rather than "her" or "girl" so as to not let Kappei realize Sunohara thinks Kappei's a girl. Reason for this usage is that, if he were to use those pronouns, Kappei should have realized it earlier, but this goes against the text so I've left it as such. Just for the record, Japanese don't really use pronouns that define gender as often as we do (or rather have a lack of it), so we're left having to make do.
*When Sunohara whispers/talks with Tomoya alone, Kappei isn't around so usage of "her" or "girl" is realistic. Also at the same time, since Tomoya knows Kappei is a guy, yet wants to screw around with Sunohara, it's probably okay for him to call Kappei a girl only when Kappei isn't around.
*Once Sunohara realizes Kappei's a guy, he should be referring to Kappei as a guy, up until...
*Sunohara starts going into denial.

In regards to #4, when Sunohara starts going into denial (should be Scene 5F or so), it's kind of hard to determine whether or not he should be calling Kappei "her" or a "girl", especially since the terms he's using are leaning towards such an implication. Any ideas on this one guys?

気持ち悪いorz --[[User:Velocity7|velocity7]]
:I think cutey or cute face might sound better. About the part where Sunohara discovered that Kappei's a guy and had accepted that fact, I think it's best to use the term for guys and also, since his aware that his swinging to the other side of the realm because of his feeling >_< --[[User:Dgreater1|DGreater1]] 6:38AM Friday (8:00+ GMT)

== Treatment ==

Please do not read this section until you have at least seen Section 5L. For now, [[Template:Hidden]] has not been implemented yet, so if you wish to read on, please click the edit button and view the source, or view the source code in your browser.

<div name="spoiler1" style="display: none;">
I wanted to quickly discuss this while it was still fresh in my mind before translating this part...

[http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=PubMed&list_uids=12768481&dopt=Abstract]

It is possible for the cells in the tumor to be killed off using liquid nitrogen, but unfortunately the link I have here dates back to 2003 and therefore is quite outdated, so I don't have much information on how much more effective this technique is. Though I imagine, since it's 2003, and CLANNAD was released in 2004, that the technique was still being evaluated. The article above suggests that the technique was being devised in Japan (the three people in question being part of Kanazawa University).

Having said that, limb removal is actually not the only option that Kappei had here; it was just used exaggeratingly in this route for dramatic purposes... another alternative would have been chemotherapy (e.g., being pumped full of medicine for nine months that makes you lose hair and such).

For the sake of dramatic and storyline reasons, it is quite probable that the circumstances revolving around medical development in CLANNAD are purely fictional, and thus such a "miraculous" treatment could be considered offensive to those that are currently suffering from osteosarcoma. For this reason, it is highly probable that when a patch for this game comes out, I will put a disclaimer at the beginning declaring the story being purely fictional, with all events in the real world being coincidential if similar in any way to CLANNAD. Although such a disclaimer was not put in the original game, it is probably for the best.
</div>

--[[User:Velocity7|velocity7]]

User talk:Mashu

2007-05-21T21:12:51Z

Dgreater1: /* Tsukkomi */

== Tsukkomi ==

Tsukkomi is best interpreted as a jab at something. It's not as complicated as I've seen some comments about it. I'm sure you guys already know what it is, but I'll just explain just in case. It's basically where one butts in and makes corrections to someone's stupid mistake or statement.

Example: Kotomi tells Tomoya that it's okay for students of this school to come to the library freely. He thinks:
今は閉室時間だろとか、そもそも今日は学校休みだろとか、ツッコミたいことは山ほどあったが、問題はそこじゃない。
*Wouldn't you think that: Mountains of corrections such as 'isn't it supposed to be closed' and 'school is not even active today' came to mind, but that wasn't the problem.
*Sounds a lot better than: There are mountains of tsukkomi I could do such as 'isn't it supposed to be closed' and 'school is not even active today' but that wasn't the problem.

Discuss!
:That's fine for me. We could use some proper replacement with the tsukkomi lines to make the translation clear, like the one I did with SEEN4506 :3<br><br>
:
:<0187> \{Kyou} "Saying such easygoing words would someday make this place a gathering spot for some other club." *
:// Not sure with this line though @_@ -DGreater1
:// \{杏}「そんな悠長なこと言ってるから、ここはいつまで経っても変な部外者のたまり場なのよ」
:<0188> \{\m{B}} "Can I butt in with '\bDon't say that.'?"\u
:// \{\m{B}}「『おまえが言うな』ってツッコんでもいいか？」
:<0189> \{Kyou} "I'll retaliate with '\bYou too.'"\u
:// \{杏}「『あんたもね』ってツッコミかえすわよ？」
:<0190> \{\m{B}} "........."
:// \{\m{B}}「………」
:<br>
:The next question is, are we going to replace every tsukkomi lines so it would work with the line or only those that need a clear interpretation? Like for example, Line 0307 of SEEN4418, Line 0079, 0101, 0318 of SEEN4419. We might end up completely eliminating the essence of tsukkomi in exchange for clear interpretation if we change every tsukkomi lines though. And there's discussion problem too @_@, only a few of us might discuss this problem... -DGreater1

== Un and Uun. ==

Well, un and uun is obviously yes and no, though you'll also notice this is Kotomi's given behavioural pattern. As you notice, she is denoted as very childish, since despite having the characteristic of being a number one student, she is absolutely poor in socialising. Thus, un and uun were used to denote this specific pattern that does not exist in any other character. Since Kotomi's route is independent given that she does not exist in any other route, using an abnormal amount of yes and no had certain redundancy. It also made itself different than hai and iye (er I don't know the roomanji for the other no), because that version of yes and no exists in the other girl characters within the same route, yet they are so much different.

You'll also notice she says are and arere a lot. Surely it is huh but under context it's a very obvious implication. Again, child-like behaviour emphasized. Due to the oddity of repetition, it causes using this entirely in English seem the more awkward, especially when many notations are purely Japanese such as a certain Japanese idioms, which we probably wouldn't know immediately, as well as other things. Also are would be huh, but so would arere, as the second huh wouldn't denote the extra confusion or the denoted repetition.

In this sense un and uun can seem more like sounds of agreement. Like mmhmm and mmm mmm/nn nn (... yes and no). Like, it's supposed to be a notation of agreement or understanding, but not a strict yes, since that would be hai, or something like that. Well, that's just what I think. Same thing with no, it seems more like the version that you would do while shaking your head. You're saying no, but you're saying "nn nn" or in Japanese, "uun", though we wouldn't put mmhmm or nn nn or however you spell those.

Of course that doesn't mean un and uun are better than yes and no. Just wanted to briefly state why it was left like that, as you'll notice if you went through all the seens, all of them are un and uun for this specification that denotes Kotomi's independent personality that has no similarities to any characters, thus it was used as a distinguishing pattern. Though again, it is a notation of the childish behaviour, thus you see certain excessive repetition. You also already see how communication itself is already two different pages.

Though in all honesty it was simply used as personal flavouring, which was propelled by how independent the route is. You'll notice nearly immediately that when playing the game, you cannot have Kotomi routes coexist with any other routes, aside from the first day you meet her through skipping class.

Yes and no is fine, though there will be a ridiculously high amount of it. It would be English accurate, but by text alone it is less obvious of the mood or tone that one is a childish yes and the other a normal yes. So yes and no weren't used as distinguishing factours.

I repeated myself too much. Kotomi's route has more variability and less limitations, so it's easier to interchange. Notice how the language reversal was already a problem, though un and uun was merely preference. Yes and no is still correct. Of course there were also problems with not recognising lines from famous books or scientific names. Then you also have the SFX of a nod, then Tomoya saying she nodded, same goes with stopping, spinning, and whatever other sound effects occur in this route given the tsukkomi implications as well as Kotomi's relative cluenessness and odd behaviour. Again, that was why un and uun was used, to make the responses contain the oddity yet under context being obvious that there's more like sounds of agreement rather than a proper yes and no despite the fact that she is polite, she is still childish. So yeah, implicative notation is how I see it. I'm not going to change anything though.

--[[User:Amoirsp|Amoirsp]]
: Pros & Cons of maintaining the '''Un''' & '''Uun'''<br><br>
:
:'''Pros:''' As for me who knows how '''un''' and '''uun''' works, maintaining it has a good deal of reflecting a bit of Kotomi's timid personality which is one of the aspect that differentiate her to the other girls. It also eliminates the redundancy of too much ''yes'', ''okay'', ''no'', ''not really'' and it fits how the word and voice is single syllable. And it also maintains her universal reply (all purpose agreement and disagreement with something.) and gives the reader an imagination that she might be shaking her head for ''uun'' and nodding once for ''un''. It's almost the same as maintaining the way Fuuko says her name in most of her sentences :3
:'''Cons:''' One of the cons is I'm not sure if most people would be able to understand how '''un''' and '''uun'''... <br><br>
:
:But anyway, I guess I'm a little bit in favor of maintaining it since I (personally) have no problem with it.
:--[[User:Dgreater1|DGreater1]]

:It really doesn't matter to me how it's left, and I already know why it was left as un and uun. It'll just have to be real clear what un and uun means to the players. I was just more concerned about how the players will feel about un and uun.
:
:My real concern is the reversing of the languages. I notice that some places where she's reading something in English, it was translated as her reading in Japanese, or a phrase in English is switched into a phrase in Japanese. I think this would just make things even more confusing, since the setting is already in Japan. Since the players are already aware that everybody in the game is Japanese, and that the game itself is Japanese, I really don't think any language should be reversed.
:--[[User:Mashu|Mashu]] 21:56, 19 May 2007 (PDT)
::Oh about the language reversal on her route? The problem is the climax of her route. I really believe that it requires to reverse that part there because there's a purpose why that line is in English... and I don't think reversing that alone would be good with the flow of the translation. Take for example the scissor part with Kotomi in the bookshop. She said scissors in her first explanation but in the second explanation, she said, "In English it's scissor..." which is kind of redundant that's why I reversed it as "In Japanese..." that part also exist with Yukine's route where Sunohara said, "Really" in English then Tomoya commented on it with "More English words came out." It will look redundant and kind of odd when you read it because the readers are reading an English translation despite knowing that it's a Japanese game. You should also read this [http://www.baka-tsuki.net/project/index.php?title=User_talk:Amoirsp#About_the_language_reversal About the Language Reversal]. Anyway, you'll see what I mean once you finish Kotomi's route... though I'm sure you'll finish reading Kotomi's route first before I finish translating her route ^_^; --[[User:Dgreater1|DGreater1]] 1:30PM (+8:00)

User talk:Mashu

2007-05-21T21:07:44Z

Dgreater1: /* Tsukkomi */

== Tsukkomi ==

Tsukkomi is best interpreted as a jab at something. It's not as complicated as I've seen some comments about it. I'm sure you guys already know what it is, but I'll just explain just in case. It's basically where one butts in and makes corrections to someone's stupid mistake or statement.

Example: Kotomi tells Tomoya that it's okay for students of this school to come to the library freely. He thinks:
今は閉室時間だろとか、そもそも今日は学校休みだろとか、ツッコミたいことは山ほどあったが、問題はそこじゃない。
*Wouldn't you think that: Mountains of corrections such as 'isn't it supposed to be closed' and 'school is not even active today' came to mind, but that wasn't the problem.
*Sounds a lot better than: There are mountains of tsukkomi I could do such as 'isn't it supposed to be closed' and 'school is not even active today' but that wasn't the problem.

Discuss!
:That's fine for me. We could use some proper replacement with the tsukkomi lines to make the translation clear, like the one I did with SEEN4506 :3<br><br>

:<0187> \{Kyou} "Saying such easygoing words would someday make this place a gathering spot for some other club." *
:// Not sure with this line though @_@ -DGreater1
:// \{杏}「そんな悠長なこと言ってるから、ここはいつまで経っても変な部外者のたまり場なのよ」
<0188> \{\m{B}} "Can I butt in with '\bDon't say that.'?"\u
:// \{\m{B}}「『おまえが言うな』ってツッコんでもいいか？」
:<0189> \{Kyou} "I'll retaliate with '\bYou too.'"\u
:// \{杏}「『あんたもね』ってツッコミかえすわよ？」
:<0190> \{\m{B}} "........."
:// \{\m{B}}「………」
<br><br>
:The next question is, are we going to replace every tsukkomi lines so it would work with the line or only those that need a clear interpretation? Like for example, Line 0307 of SEEN4418, Line 0079, 0101, 0318 of SEEN4419. We might end up completely eliminating the essence of tsukkomi in exchange for clear interpretation if we change every tsukkomi lines though.

== Un and Uun. ==

Well, un and uun is obviously yes and no, though you'll also notice this is Kotomi's given behavioural pattern. As you notice, she is denoted as very childish, since despite having the characteristic of being a number one student, she is absolutely poor in socialising. Thus, un and uun were used to denote this specific pattern that does not exist in any other character. Since Kotomi's route is independent given that she does not exist in any other route, using an abnormal amount of yes and no had certain redundancy. It also made itself different than hai and iye (er I don't know the roomanji for the other no), because that version of yes and no exists in the other girl characters within the same route, yet they are so much different.

You'll also notice she says are and arere a lot. Surely it is huh but under context it's a very obvious implication. Again, child-like behaviour emphasized. Due to the oddity of repetition, it causes using this entirely in English seem the more awkward, especially when many notations are purely Japanese such as a certain Japanese idioms, which we probably wouldn't know immediately, as well as other things. Also are would be huh, but so would arere, as the second huh wouldn't denote the extra confusion or the denoted repetition.

In this sense un and uun can seem more like sounds of agreement. Like mmhmm and mmm mmm/nn nn (... yes and no). Like, it's supposed to be a notation of agreement or understanding, but not a strict yes, since that would be hai, or something like that. Well, that's just what I think. Same thing with no, it seems more like the version that you would do while shaking your head. You're saying no, but you're saying "nn nn" or in Japanese, "uun", though we wouldn't put mmhmm or nn nn or however you spell those.

Of course that doesn't mean un and uun are better than yes and no. Just wanted to briefly state why it was left like that, as you'll notice if you went through all the seens, all of them are un and uun for this specification that denotes Kotomi's independent personality that has no similarities to any characters, thus it was used as a distinguishing pattern. Though again, it is a notation of the childish behaviour, thus you see certain excessive repetition. You also already see how communication itself is already two different pages.

Though in all honesty it was simply used as personal flavouring, which was propelled by how independent the route is. You'll notice nearly immediately that when playing the game, you cannot have Kotomi routes coexist with any other routes, aside from the first day you meet her through skipping class.

Yes and no is fine, though there will be a ridiculously high amount of it. It would be English accurate, but by text alone it is less obvious of the mood or tone that one is a childish yes and the other a normal yes. So yes and no weren't used as distinguishing factours.

I repeated myself too much. Kotomi's route has more variability and less limitations, so it's easier to interchange. Notice how the language reversal was already a problem, though un and uun was merely preference. Yes and no is still correct. Of course there were also problems with not recognising lines from famous books or scientific names. Then you also have the SFX of a nod, then Tomoya saying she nodded, same goes with stopping, spinning, and whatever other sound effects occur in this route given the tsukkomi implications as well as Kotomi's relative cluenessness and odd behaviour. Again, that was why un and uun was used, to make the responses contain the oddity yet under context being obvious that there's more like sounds of agreement rather than a proper yes and no despite the fact that she is polite, she is still childish. So yeah, implicative notation is how I see it. I'm not going to change anything though.

--[[User:Amoirsp|Amoirsp]]
: Pros & Cons of maintaining the '''Un''' & '''Uun'''<br><br>
:
:'''Pros:''' As for me who knows how '''un''' and '''uun''' works, maintaining it has a good deal of reflecting a bit of Kotomi's timid personality which is one of the aspect that differentiate her to the other girls. It also eliminates the redundancy of too much ''yes'', ''okay'', ''no'', ''not really'' and it fits how the word and voice is single syllable. And it also maintains her universal reply (all purpose agreement and disagreement with something.) and gives the reader an imagination that she might be shaking her head for ''uun'' and nodding once for ''un''. It's almost the same as maintaining the way Fuuko says her name in most of her sentences :3
:'''Cons:''' One of the cons is I'm not sure if most people would be able to understand how '''un''' and '''uun'''... <br><br>
:
:But anyway, I guess I'm a little bit in favor of maintaining it since I (personally) have no problem with it.
:--[[User:Dgreater1|DGreater1]]

:It really doesn't matter to me how it's left, and I already know why it was left as un and uun. It'll just have to be real clear what un and uun means to the players. I was just more concerned about how the players will feel about un and uun.
:
:My real concern is the reversing of the languages. I notice that some places where she's reading something in English, it was translated as her reading in Japanese, or a phrase in English is switched into a phrase in Japanese. I think this would just make things even more confusing, since the setting is already in Japan. Since the players are already aware that everybody in the game is Japanese, and that the game itself is Japanese, I really don't think any language should be reversed.
:--[[User:Mashu|Mashu]] 21:56, 19 May 2007 (PDT)
::Oh about the language reversal on her route? The problem is the climax of her route. I really believe that it requires to reverse that part there because there's a purpose why that line is in English... and I don't think reversing that alone would be good with the flow of the translation. Take for example the scissor part with Kotomi in the bookshop. She said scissors in her first explanation but in the second explanation, she said, "In English it's scissor..." which is kind of redundant that's why I reversed it as "In Japanese..." that part also exist with Yukine's route where Sunohara said, "Really" in English then Tomoya commented on it with "More English words came out." It will look redundant and kind of odd when you read it because the readers are reading an English translation despite knowing that it's a Japanese game. You should also read this [http://www.baka-tsuki.net/project/index.php?title=User_talk:Amoirsp#About_the_language_reversal About the Language Reversal]. Anyway, you'll see what I mean once you finish Kotomi's route... though I'm sure you'll finish reading Kotomi's route first before I finish translating her route ^_^; --[[User:Dgreater1|DGreater1]] 1:30PM (+8:00)

User talk:Mashu

2007-05-20T05:37:34Z

Dgreater1: Ooops... just some typo @_@

== Un and Uun. ==

Well, un and uun is obviously yes and no, though you'll also notice this is Kotomi's given behavioural pattern. As you notice, she is denoted as very childish, since despite having the characteristic of being a number one student, she is absolutely poor in socialising. Thus, un and uun were used to denote this specific pattern that does not exist in any other character. Since Kotomi's route is independent given that she does not exist in any other route, using an abnormal amount of yes and no had certain redundancy. It also made itself different than hai and iye (er I don't know the roomanji for the other no), because that version of yes and no exists in the other girl characters within the same route, yet they are so much different.

You'll also notice she says are and arere a lot. Surely it is huh but under context it's a very obvious implication. Again, child-like behaviour emphasized. Due to the oddity of repetition, it causes using this entirely in English seem the more awkward, especially when many notations are purely Japanese such as a certain Japanese idioms, which we probably wouldn't know immediately, as well as other things. Also are would be huh, but so would arere, as the second huh wouldn't denote the extra confusion or the denoted repetition.

In this sense un and uun can seem more like sounds of agreement. Like mmhmm and mmm mmm/nn nn (... yes and no). Like, it's supposed to be a notation of agreement or understanding, but not a strict yes, since that would be hai, or something like that. Well, that's just what I think. Same thing with no, it seems more like the version that you would do while shaking your head. You're saying no, but you're saying "nn nn" or in Japanese, "uun", though we wouldn't put mmhmm or nn nn or however you spell those.

Of course that doesn't mean un and uun are better than yes and no. Just wanted to briefly state why it was left like that, as you'll notice if you went through all the seens, all of them are un and uun for this specification that denotes Kotomi's independent personality that has no similarities to any characters, thus it was used as a distinguishing pattern. Though again, it is a notation of the childish behaviour, thus you see certain excessive repetition. You also already see how communication itself is already two different pages.

Though in all honesty it was simply used as personal flavouring, which was propelled by how independent the route is. You'll notice nearly immediately that when playing the game, you cannot have Kotomi routes coexist with any other routes, aside from the first day you meet her through skipping class.

Yes and no is fine, though there will be a ridiculously high amount of it. It would be English accurate, but by text alone it is less obvious of the mood or tone that one is a childish yes and the other a normal yes. So yes and no weren't used as distinguishing factours.

I repeated myself too much. Kotomi's route has more variability and less limitations, so it's easier to interchange. Notice how the language reversal was already a problem, though un and uun was merely preference. Yes and no is still correct. Of course there were also problems with not recognising lines from famous books or scientific names. Then you also have the SFX of a nod, then Tomoya saying she nodded, same goes with stopping, spinning, and whatever other sound effects occur in this route given the tsukkomi implications as well as Kotomi's relative cluenessness and odd behaviour. Again, that was why un and uun was used, to make the responses contain the oddity yet under context being obvious that there's more like sounds of agreement rather than a proper yes and no despite the fact that she is polite, she is still childish. So yeah, implicative notation is how I see it. I'm not going to change anything though.

--[[User:Amoirsp|Amoirsp]]
: Pros & Cons of maintaining the '''Un''' & '''Uun'''<br><br>
:
:'''Pros:''' As for me who knows how '''un''' and '''uun''' works, maintaining it has a good deal of reflecting a bit of Kotomi's timid personality which is one of the aspect that differentiate her to the other girls. It also eliminates the redundancy of too much ''yes'', ''okay'', ''no'', ''not really'' and it fits how the word and voice is single syllable. And it also maintains her universal reply (all purpose agreement and disagreement with something.) and gives the reader an imagination that she might be shaking her head for ''uun'' and nodding once for ''un''. It's almost the same as maintaining the way Fuuko says her name in most of her sentences :3
:'''Cons:''' One of the cons is I'm not sure if most people would be able to understand how '''un''' and '''uun'''... <br><br>
:
:But anyway, I guess I'm a little bit in favor of maintaining it since I (personally) have no problem with it.
:--[[User:Dgreater1|DGreater1]]

:It really doesn't matter to me how it's left, and I already know why it was left as un and uun. It'll just have to be real clear what un and uun means to the players. I was just more concerned about how the players will feel about un and uun.
:
:My real concern is the reversing of the languages. I notice that some places where she's reading something in English, it was translated as her reading in Japanese, or a phrase in English is switched into a phrase in Japanese. I think this would just make things even more confusing, since the setting is already in Japan. Since the players are already aware that everybody in the game is Japanese, and that the game itself is Japanese, I really don't think any language should be reversed.
:--[[User:Mashu|Mashu]] 21:56, 19 May 2007 (PDT)
::Oh about the language reversal on her route? The problem is the climax of her route. I really believe that it requires to reverse that part there because there's a purpose why that line is in English... and I don't think reversing that alone would be good with the flow of the translation. Take for example the scissor part with Kotomi in the bookshop. She said scissors in her first explanation but in the second explanation, she said, "In English it's scissor..." which is kind of redundant that's why I reversed it as "In Japanese..." that part also exist with Yukine's route where Sunohara said, "Really" in English then Tomoya commented on it with "More English words came out." It will look redundant and kind of odd when you read it because the readers are reading an English translation despite knowing that it's a Japanese game. You should also read this [http://www.baka-tsuki.net/project/index.php?title=User_talk:Amoirsp#About_the_language_reversal About the Language Reversal]. Anyway, you'll see what I mean once you finish Kotomi's route... though I'm sure you'll finish reading Kotomi's route first before I finish translating her route ^_^; --[[User:Dgreater1|DGreater1]] 1:30PM (+8:00)

User talk:Mashu

2007-05-20T05:33:42Z

Dgreater1: About the language reversal

== Un and Uun. ==

Well, un and uun is obviously yes and no, though you'll also notice this is Kotomi's given behavioural pattern. As you notice, she is denoted as very childish, since despite having the characteristic of being a number one student, she is absolutely poor in socialising. Thus, un and uun were used to denote this specific pattern that does not exist in any other character. Since Kotomi's route is independent given that she does not exist in any other route, using an abnormal amount of yes and no had certain redundancy. It also made itself different than hai and iye (er I don't know the roomanji for the other no), because that version of yes and no exists in the other girl characters within the same route, yet they are so much different.

You'll also notice she says are and arere a lot. Surely it is huh but under context it's a very obvious implication. Again, child-like behaviour emphasized. Due to the oddity of repetition, it causes using this entirely in English seem the more awkward, especially when many notations are purely Japanese such as a certain Japanese idioms, which we probably wouldn't know immediately, as well as other things. Also are would be huh, but so would arere, as the second huh wouldn't denote the extra confusion or the denoted repetition.

In this sense un and uun can seem more like sounds of agreement. Like mmhmm and mmm mmm/nn nn (... yes and no). Like, it's supposed to be a notation of agreement or understanding, but not a strict yes, since that would be hai, or something like that. Well, that's just what I think. Same thing with no, it seems more like the version that you would do while shaking your head. You're saying no, but you're saying "nn nn" or in Japanese, "uun", though we wouldn't put mmhmm or nn nn or however you spell those.

Of course that doesn't mean un and uun are better than yes and no. Just wanted to briefly state why it was left like that, as you'll notice if you went through all the seens, all of them are un and uun for this specification that denotes Kotomi's independent personality that has no similarities to any characters, thus it was used as a distinguishing pattern. Though again, it is a notation of the childish behaviour, thus you see certain excessive repetition. You also already see how communication itself is already two different pages.

Though in all honesty it was simply used as personal flavouring, which was propelled by how independent the route is. You'll notice nearly immediately that when playing the game, you cannot have Kotomi routes coexist with any other routes, aside from the first day you meet her through skipping class.

Yes and no is fine, though there will be a ridiculously high amount of it. It would be English accurate, but by text alone it is less obvious of the mood or tone that one is a childish yes and the other a normal yes. So yes and no weren't used as distinguishing factours.

I repeated myself too much. Kotomi's route has more variability and less limitations, so it's easier to interchange. Notice how the language reversal was already a problem, though un and uun was merely preference. Yes and no is still correct. Of course there were also problems with not recognising lines from famous books or scientific names. Then you also have the SFX of a nod, then Tomoya saying she nodded, same goes with stopping, spinning, and whatever other sound effects occur in this route given the tsukkomi implications as well as Kotomi's relative cluenessness and odd behaviour. Again, that was why un and uun was used, to make the responses contain the oddity yet under context being obvious that there's more like sounds of agreement rather than a proper yes and no despite the fact that she is polite, she is still childish. So yeah, implicative notation is how I see it. I'm not going to change anything though.

--[[User:Amoirsp|Amoirsp]]
: Pros & Cons of maintaining the '''Un''' & '''Uun'''<br><br>
:
:'''Pros:''' As for me who knows how '''un''' and '''uun''' works, maintaining it has a good deal of reflecting a bit of Kotomi's timid personality which is one of the aspect that differentiate her to the other girls. It also eliminates the redundancy of too much ''yes'', ''okay'', ''no'', ''not really'' and it fits how the word and voice is single syllable. And it also maintains her universal reply (all purpose agreement and disagreement with something.) and gives the reader an imagination that she might be shaking her head for ''uun'' and nodding once for ''un''. It's almost the same as maintaining the way Fuuko says her name in most of her sentences :3
:'''Cons:''' One of the cons is I'm not sure if most people would be able to understand how '''un''' and '''uun'''... <br><br>
:
:But anyway, I guess I'm a little bit in favor of maintaining it since I (personally) have no problem with it.
:--[[User:Dgreater1|DGreater1]]

:It really doesn't matter to me how it's left, and I already know why it was left as un and uun. It'll just have to be real clear what un and uun means to the players. I was just more concerned about how the players will feel about un and uun.
:
:My real concern is the reversing of the languages. I notice that some places where she's reading something in English, it was translated as her reading in Japanese, or a phrase in English is switched into a phrase in Japanese. I think this would just make things even more confusing, since the setting is already in Japan. Since the players are already aware that everybody in the game is Japanese, and that the game itself is Japanese, I really don't think any language should be reversed.
:--[[User:Mashu|Mashu]] 21:56, 19 May 2007 (PDT)
::Oh about the language reversal on her route? The problem is the climax of her route. I really believe that it requires to reverse that part there because there's a purpose why that line is in English... and I don't think reversing that alone would be good with the flow of the translation. Take for example the scissor part with Kotomi in the bookshop. She said scissors in her first explanation but in the second explanation, she said, "In English it's scissor..." which is kind of redundant that's why I reversed it as "In Japanese..." that part also exist with Yukine's route where Sunohara said, "Really" in English then Tomoya commented on it with "More English words came out." It will look redundant when you read it because the reader is reading an English translation despite knowing that it's a Japanese game. You should see also read this [http://www.baka-tsuki.net/project/index.php?title=User_talk:Amoirsp#About_the_language_reversal About the Language Reversal]. Anyway, you'll see what I mean once you finish Kotomi's route... though I'm sure you'll finish reading Kotomi's route first before I finish translating her route ^_^; --[[User:Dgreater1|DGreater1]] 1:30PM (+8:00)

Talk:Clannad:SEEN4505

2007-05-14T03:10:55Z

Dgreater1: Translation notes discussion

== Translation Notes ==
Concerning SEEN4505--maybe it's really not my place to say something like this, but...
*ハンチントン舞踏病, I think, would correctly translate to "Huntington's chorea", instead of "Han chin ton chorea". That's actually the old-fashioned name of it--in the English language, they just call it "Huntington's disease" or "Huntington disease", I think.
*Here's a picture of an apple pie with a lattice decoration: http://en.wikipedia.org/wiki/Image:Apple_pie.jpg
*A Jonathan apple is a specific cultivar of apple--as opposed to a Golden Delicious, a Granny Smith, a Blenheim Orange, etc.
*The book is by Midori Osaki (尾崎翠), and called "第七官界彷徨", which translates to about "Wandering in the World of the Seventh Sense", or something like that. Uh, actually, I think this is the book and the author. Now I'm not too sure anymore. Oh well.
--[[User:24.221.176.159|24.221.176.159]] 14:59, 13 May 2007 (PDT)
: Thanks a lot for pointing that. Anyway, don't worry about pointing stuffs like this since I want Kotomi's route to have a good translation as much as possible. By the way, are you referring about the book that Kotomi was reading out loud? Hmmm... *checks the SEEN* I think you're talking about the one Kotomi was reading for Tomoya, I'll put a proper note later, explaining about the line since the book was originally written in Japanese but I put English novelist ^_^; --[[User:Dgreater1|DGreater1]] 11:05, 14 May 2007 (8:00+)

User:DGreater1

2007-05-12T03:43:15Z

Dgreater1: Aww...

User:Dgreater1

2007-05-12T03:40:03Z

Dgreater1: Some minor update :3

Talk:Clannad:Guidelines

2007-05-12T03:01:23Z

Dgreater1: /* 創立者祭 */

== Digits, Interjections, thinking words, shouts/screams and action words ==
I would like to clarify on some of the translation guidelines.

Firstly, do we substitute Arabic numerals on the original text for half-width digits (e.g. 20) or their English equivalents (Twenty)? If it had not been decided, I would suggest that we stick to digits for convention, clarity and conciseness. For kanji numerals, I'd rather we use English words.

In the translations I have seen, interjections were mostly substituted beautifully, but there were several crude ones, and some of those were translated in other ways for other scenarios.

May I suggest to translators and editors:

あの, ano -> Um

え, e -> Eh (repeated えs would be Eeeeh etc.)

ああ, aa -> Ya / K' / Yea / Aah (depending on context)

あ, a -> Ah

えっと, etto -> Erm / Err

っ, 'sokuon' -> ' (e.g. 「えっ？」 -> "Eh'?" , but only when the situation allows) (refer to the Yorkshire accent part on glottal stops in Wikipedia [http://en.wikipedia.org/wiki/Glottal_stop])

For those at the end of sentences:

よ, ね, な, ぞ etc. -> huh / not? / (nothing, for when it is an integral part of the sentence, i.e. sounds awkward without it) / reflected in the sentence as

だろう, だろ -> I wonder / I guess / right? / not? / probably / it is probable

I believe the rest have more obvious equivalents in English, and won't have much trouble integrating.

In the topic of screams, as they usually hold no meaning, might I suggest substituting them word for word (Hepburn romanization with kana spelling) with the ー, chouon substituted for a dash, small vowels as their english equivalent (I have thought of substituting large vowels with caps, but wouldn't it lose some aesthetic quality?) and っ with a 'h' where aesthetic standards allow.

For action words that occupy a single line, may I suggest the format as per in the following example, :''もぐもぐ… *mogu mogu, munch munch''

I used the above format for action words in sentences like じっと、そこを見た during my translation draft (which was only at its third day as per this project's founding, despite that I started it near the end of December). However, I find it sloppy when nested in sentences, and I guess it also breaks the flow of the script. Please criticize this suggestions mercilessly.[[User:Jc100|Jc100]] 03:34, 6 February 2007 (PST)

: I agree with most of the conventions used above, albeit with a few minor changes:
: - 'mogu mogu' should just be 'munch, munch'
: - IRJustman and I would like to go with using just words for numbers (e.g., five), unless it comes to maybe 10-yen coins. Not like someone can say "one million yen", right, as opposed to "1,000,000 yen"?
: - screams we'll have to think about, it's kind of hard to romanize say, Sunohara's ひぃぃぃぃぃぃ！！
: - most of the stuff above is freeform, so like you said, will depend on context.
: [[User:Velocity7|velocity7]] 10:09, 6 February 2007 (EST)

: Ditto with velocity7. But I think the interjection translations should be guidelines; translators should retain free rein in using alternatives to naturalise/normalise the speech. Same goes for wild random screaming, this should be translator's call?
: More importantly, characters need to sound consistent throughout the game. Either this should be handled by QC, or translators can route-specialise. Or something; i'm new to this game.
: American English, or British English?
: --[[User:Kwok|Kwok]] 05:40, 13 February 2007 (PST)

== Naming ==
May I suggest adding a Female Youth name as a translation for 少女, shoujo, as a name title especially for the first Kotomi scene. At that first meeting, Tomoya was not too fond of her, hence the more formal name (albeit more conventional, in my opinion), even though name titles are not actually supposed to reflect relations.[[User:Jc100|Jc100]] 03:34, 6 February 2007 (PST)

I'm inclined to follow your suggestion too, but will there be space constraints? Also, 'Female Youth' sounds rather detached and unemotional for a guy's thoughts, so would 'Girl' be simpler and sweeter? It's more casual and normalise the scenario that way. Same for shounen; we could call them "Guy".--[[User:Kwok|Kwok]] 05:29, 13 February 2007 (PST)

A bit of trouble with the main arc. Tomoya often refers to Akio as オッサン. Would that be 'Uncle'?--[[User:Kwok|kwok]] 01:46, 4 May 2007 (PDT)

== Punctuation and General Typography ==

In the guidelines page, ellipses were written as '...' (3 periods). However, there exists a special character for groups of 3 ellipses, '…'. This character is also used in the game text. Unless it is due to technical restrictions(which I doubt there is), the second ellipse should be used. That is to distinguish the ellipses from the period following, as per The Chicago Manual of Style[http://en.wikipedia.org/wiki/%E2%80%A6]. Yes, a period is required after ellipses when writing in English. I would not recommend using a program to substitute periods for this character after translating for fear that it might make some unwanted changes in the text.

There are also other things to take note of. The hyphen at your keyboard is only for hyphens. For dashes, use the following

For a limited range, e.g. '07–15' (haven't encountered any), or prefixing a term e.g. 'pre–World War II', use an en dash '–' (XP users: Alt+0150)

For an open range, e.g. 'Saturday—' an em dash '—'(XP users: Alt+0151)

A word that is cut off halfway (say, when some interrupts your conversation) is denoted by a character more commonly seen in Unicode art (well, it sure isn't ASCII, and it's not Shift-JIS)(part of the box drawing character set). It seems like Key used that character as it did not have gaps when placed consequentially. Long lines are usually multiples of this character too. I would recommend using the horizontal bar '―' (U+2013; ampersand, hash, 8213, semicolon), as it also joins with another itself.

As stated in the previous topic, the chouon is used for creative purposes in shouts and yells. The em dash is an excellent substitution for it.

The full width tilde '～' is used in several instances, like ぐっ～～. Seems like Key used it instead of the more politically correct wave symbol '〜' (they probably didn't know of it's existence). Both are in East Asian character sets. I can't find of any non-Asian character that imitates the full width tilde satisfactorily. Maybe we should default to half width tildes?

There is a quotation dash ⁓ (U+2053; ampersand, hash, 8275, semicolon). However, I currently cannot think of any instance it might be required in the script.
[[User:Jc100|Jc100]] 03:05, 13 February 2007 (PST)

:I understand that there is a love for Unicode characters in the script at the moment. However, if you would all please have a look at [http://dev.haeleth.net/rldev/manual.html#htoc26 this website...]
:You'll notice that I am currently using Western encoding to encode the script with rlBabel. At the time of this writing, this is currently the only way to compile the script so that it looks and works fine. In other words, if the character is not supported under CP1251 or ISO-8859-1, it is not very likely to work. This includes all Japanese characters.

:That's the reasoning for my use of "..." at the moment. For all other characters, they will have to be replaced or modified in some way in order to match up with this. I haven't had time to go look back in scripts to fix this, so if you have time, please feel free to fix them.

:--[[User:Velocity7|velocity7]], February 13, 2007, 8:59 AM EST

CP1252 uses the code point 85 for ellipses, which is unassigned in ISO-8859-1. I'm guessing that this was what Haeleth meant by (ISO-8859-1 with extensions). Why not give it a try?

[[User:Jc100|Jc100]] 12:37, 13 February 2007 (PST)

== 創立者祭 ==

A couple of possible translations for 創立者祭:[http://www.japanisdoomed.com/2006/10/01/school-festival/][http://web-japan.org/kidsweb/explore/calendar/november/festival.html]
*school festival (impossible due to SEEN2510)
*Founder's Day
*School Anniversary

Any comments? --[[User:Velocity7|velocity7]]

**I would pick Founder's Day. --[[User:Kwok|kwok]] 00:10, 11 May 2007 (PDT)
***Actually, I would pick School Foundation Day, lol... we have those days in school here :P --[[User:Dgreater1|DGreater1]] 11:00, 12 May 2007 (8:00+)

Talk:Clannad:SEEN0414

2007-04-22T16:09:00Z

Dgreater1: Minor edit with the discussion @_@

== Alt. Translation Post ==

<div class="clannadbox">
<pre>
// Resources for SEEN0414.TXT

#character '＊Ｂ'
//#character '＊Ｂ'
#character 'Voice'
//#character '声'
#character 'Girl'
//#character '女の子'
#character 'Teacher'
//#character '教師'
#character 'Sunohara'
//#character '春原'
#character 'Young Man'
//#character '男子'

<0> I hate this town.
// この町は嫌いだ。
<1> It’s because there are places stained with memories that I wish to forget.
// 忘れたい思い出が染みついた場所だから。
<2> Going to school every day, attending lessons every day, chatting with friends every day, and then returning to the house that I do not wish to return, every day.
// 毎日学校に通い、授業を受け、友達とだべり、そして帰りたくもない家に帰る。
<3> Nothing new, or the like, ever occurs.
// 何も新しいことなど始まらない。
<4> \m{B} (With this routine carrying on, I wonder if anything has actually changed….)
// \{\m{B}}（こうしていて、何かが変わるんだろうか…）
<5> \m{B} (When will my life ever change…?)
// \{\m{B}}（俺の生活は、いつか変わるんだろうか….）
<6> A town separated all over by rampant greenery.
// やたらと自然が多い町。
<7> Having to detour around mountains to attend school.
// 山を迂回しての登校。
<8> If only I could cut through all the mountains, how much easier it would probably have been.
// すべての山を切り開けば、どれだけ楽に登校できるだろうか。
<9> If I walked in a straight line, I would then be able to shave off about 20 minutes.
// 直線距離を取れば、２０分ぐらいは短縮できそうだった。
<10> \m{B} (One day, 20 minutes….)
// \{\m{B}}（一日、２０分…）
<11> \m{B} (And thus, in a year, roughly how much time will I be able to gain?)
// \{\m{B}}（すると、一年でどれぐらい、俺は時間を得することになるんだ….）
<12> I do the mathematics while walking.
// 計算しながら、歩く。
<13> \m{B} (Aah, hell, I have totally no idea….)
// \{\m{B}}（ああ、よくわかんねぇ…）
<14> I see nobody nearby who appears to be a schoolmate.
// 辺りに同校の生徒の姿はない。
<15> As this is the main street that leads to school, it should essentially be flourishing with pupils.
// 学校に続く大通りだから、本来、生徒で賑わっているはずだった。
<16> Today is not a holiday or anything.
// 今日が、休日というわけでもない。
<17> In other words…this is not the time when a student ought to attend school; and thus is the situation now.
// つまりは…生徒が登校すべき時間ではない、ということ。
<18> But, despite appearing to have a cannot–be–bothered attitude from a spectator’s perspective, I did not hurry, and continued with my easygoing pace.
// けど、そんな閑散とした光景を目の当たりにしても俺は焦ることなく、悠長に歩き続けた。
<19> ……….
// ………。
<20> 200 meters left to the school gate.
// 校門まで残り２００メートル。
<21> I stop for a moment, out of breath.
// 一度立ち尽くす。
<22> \{\m{B}}“Haa.”
// \{\m{B}}「はぁ」
<23> And sigh, simultaneously looking towards the sky.
// ため息と共に空を仰ぐ。
<24> The destination was the school gate.
// その先に校門はあった。
<25> Whose choice has it been, to lay the gate at such a place?
// 誰が好んで、あんな場所に校門を据えたのか。
<26> The long sloping path extended high up, like those in nightmarish dreams.
// 長い坂道が、悪夢のように延びていた。
<27> \{Voice}“Haa.”
// \{声}「はぁ」
<28> An other, different sigh. Smaller and shorter than mine.
// 別のため息。俺のよりかは小さく、短かかった。
<29> I looked beside me.
// 隣を見てみる。
<30> There, standing exhausted like I, was a female student.
// そこに同じように立ち尽くす女生徒がいた。
<31> From the colour of her school badge, I could tell she was another third–year student.
// 校章の色から、同じ三年生だとわかる。
<32> However, her face is not familiar.
// けど、見慣れない顔だった。
<33> Her short hair that ended by her shoulders flutters in the wind.
// 短い髪が、肩のすぐ上で風にそよいでいる。
<34> Female child “……….”
// \{女の子}「………」
<35> A face that appeared to be on the verge of tears.
// 今にも泣きだしそうな顔だった。
<36> I was somewhat of a habitual latecomer and thus have no qualms about coming late today, but with a diligent girl like her…
// 俺なんかは常習犯だったからなんとも思わないが、真面目な奴なのだろう…
<37> Going into class now by herself must be somewhat tough.
// この時間にひとり教室に入っていくことに抵抗があるのだ。
<38> \{Girl}“Yes, yes….”
// \{女の子}「うんうん…」
<39> She appeared to be whispering something to herself, with her eyes closed, and nodding from moment to moment.
// 何かを自分に言い聞かせるように、目を瞑って、こくこくと頷いている。
<40> Female Child “……….”
// \{女の子}「………」
<41> And then, she opened her eyes.
// そして少女は目を見開く。
<42> Ji–tto[J], fixed her eyes on the school gate, high above.
// じっと、高みにある校門を見つめた。
<43> \{Girl}“Do you like this school?”[1]
// \{女の子}「この学校は、好きですか」
<44> \{\m{B}}“Eh…?”
// \{\m{B}}「え…？」
<45> No, she was not asking me.
// いや、俺に訊いているのではなかった。
<46> The question was posed for a person existing in her imagination.
// 妄想の中の誰かに問いかけているのだ。
<47> I do wonder how that guy (or possibly female) may answer.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<48> \{Girl}“I like this school very, very much.”
// \{女の子}「わたしはとってもとっても好きです」
<49> \{Girl}“But, just about everything… I am unable to change along with.”
// \{女の子}「でも、なにもかも…変わらずにはいられないです」
<50> \{Girl}“Like those that are fun, like those that fill with joy, all of them.”
// \{女の子}「楽しいこととか、うれしいこととか、ぜんぶ」
<51> \{Girl}“All of them, I am unable to change along with.”
// \{女の子}「ぜんぶ、変わらずにはいられないです」
<52> With apparent difficulty, her conversation continued.
// たどたどしく話し続ける。
<53> \{Girl}“Even then, do I still like this place?”
// \{女の子}「それでも、この場所が好きでいられますか」
<54> ……….
// ………。
<55> \{Girl}“I….”
// \{女の子}「わたしは…」
<56> \{\m{B}}“Why don’t you try looking for them?”
// \{\m{B}}「見つければいいだけだろ」
<57> \{Girl}“Eh’…?”
// \{女の子}「えっ…？」
<58> Surprised, the girl looked towards my face.
// 少女が驚いて、俺の顔を見る。
<59> It seemed as though she had completely believed that there had not been anybody around.
// まるで、今まで誰もいないと信じていたかのようにだ。
<60> \{\m{B}}“Looking for other fun and happy things will solve the problem, won’t it?”
// \{\m{B}}「次の楽しいこととか、うれしいことを見つければいいだけだろ」
<61> \{\m{B}}“Do you have only one fun and happy activity? That’s not so, right?”
// \{\m{B}}「あんたの楽しいことや、うれしいことはひとつだけなのか？違うだろ」
<62> \{Girl}“……….”
// \{女の子}「………」
<63> Yes.
// そう。
<64> Times when we were pure and did not know anything.
// 何も知らなかった無垢な頃。
<65> Everybody has had a time like that.
// 誰にでもある。
<66> \{\m{B}}“Come on, let’s go.”
// \{\m{B}}「ほら、いこうぜ」
<67> April 14th (Monday)
// ４月１４日(月)
<68> \{Teacher}“Sunohara[J].”
// \{教師}「春原（すのはら）」
<69> The teacher called out the name of a student.
// 教師があるひとりの生徒の名を口にした。
<70> \{Teacher}“Absent, as usual.”
// \{教師}「相変わらずいないのか」
<71> I looked beside. Over there was Sunohara’s seat.
// 隣を見る。そこが春原の席だった。
<72> His attendance was worse than mine.
// こいつの遅刻率は俺より高い。
<73> Together, we are the only ones labelled as delinquents in the class.
// ふたり合わせてクラスの不良生徒として名指しされることが多かった。
<74> Maybe it’s because of that that we get along well.
// だからだろう、よく気が合う。
<75> Thus, among the class’s students, we can only chat with each other casually.
// そして、クラスの中で、唯一俺が心を許して話すことのできる人間だった。
<76> The lesson starts.
// 授業が始まる。
<77> I looked out of the window.
// 俺は窓の外を見て過ごした。
<78> The teacher’s words never made it past my ear.
// 教師の声はすべて聞き流して。
<79> A day’s worth of lessons has ended; it is now after class.
// 一日の授業を終え、放課後に。
<80> Even till the last moment, that Sunohara never came.
// 春原の奴は最後までこなかった。
<81> In the end, the only person whom I talked with today was that girl from this morning.
// 結局、今日俺が話をしたのは、朝に出会った女生徒だけだった。
<82> An everyday that truly never changes for the better.
// 実に代わり映えしない毎日。
<83> As I had not joined any club, I grabbed my empty bag and left the classroom; avoiding the jabbering students.
// 部活にも入っていない俺は、空っぽの鞄を掴むと、だべる生徒の合間を抜けて、教室を後にした。
<84> Even if I headed for home, there will not be anyone at this time of day.
// 家に帰っても、この時間は誰もいない。
<85> To start with, I did not have a mother anymore.
// もとより母親はいなかった。
<86> She died in a traffic accident when I was young; I don’t even remember her face.
// 俺が小さい頃に、交通事故で亡くなったそうだ。顔すら覚えていなかった。
<87> Maybe it was because of the shock of losing my mother… left behind, my father rotted away.
// 母を亡くしたショックでだろうか…残された父は堕落していった。
<88> He drank without end; he ruined his life by spending his free time of gambling.
// アルコールを絶やすことなく飲み続け、賭け事で暇を潰す生活。
<89> My youth was spent arguing with my father to fill the emptiness in our hearts.
// 少年時代の俺の暮らしは、そんな父との言い争いにより埋め尽くされた。
<90> But because of an incident, our relationship changed.
// けど、ある事件をきっかけにその関係も変わってしまった。
<91> He exhibited violence; I suffered an injury.
// 俺に暴力を振るい、怪我を負わせたのだ。
<92> Ever since that day, my father did not show any emotion.
// その日以来、父親は感情を表に出さないようになった。
<93> Furthermore, he never calls me by name; addressing me as ‘\m{B}–kun’, like an unrelated person.
// そして、俺の名を昔のように呼び捨てではなく、『\m{B}くん』とくん付けで呼び、言動に他人行儀を感じさせるようになった。
<94> As expected, I was in the process of joining the ranks of an outsider.
// それはまさしく、他人同士になっていく過程だった。
<95> It was as though a shell had shut us off to each other entirely, so to speak.
// まるで殻に閉じこもっていくように。
<96> It was as though we had wanted to sever all connections of the past from the present.
// 今と過去との接点を断ち切るように。
<97> It was a relief that we had rejected each other.
// 突き放すならまだ、よかったのに。
<98> Even though I was wounded, I was saved from the constant arguing.
// 傷つけてくれるなら、まだ救われたのに。
<99> In spite of that, when he notices that I had arrived home, he rejoices as though I am a visiting old friend…and proceeds to gossip.
// なのに父は学校から帰ってきた俺の姿を見つけると、まるで旧友が訪れたように喜んで…そして世間話を始めるのだ。
<100> My chest fills with hurt; I do not wanted to recollect.
// 胸が痛くなって、居たたまれなくなって…
<101> I ran out of the house.
// 俺は家を飛び出すのだ。
<102> Not wanting to see his face, it became a daily routine for me to not return home till late at night, when my father was asleep.
// だから顔を合わせないよう、親父の寝入る深夜になるまで家には戻らない生活をずっと続けていた。
<103> Because I go to bed in the wee hours of dawn, it is usually noon when I wake.
// 明け方に寝るから、目覚めるのは昼近く。
<104> Ever since I started high school, I was late just about every day.
// 高校に入ってからの俺は、毎日のように遅刻だった。
<105> That sort of life has continued for three years.
// そんな生活を続けて三年近くになる。
<106> As usual, I just put on my uniform, and rush out of the house before my father had a chance to return.
// 今日も制服だけ着替えて、親父が帰ってくる前に折り返し家を出る。
<107> Such was my health depriving routine.
// それが体に染みついた日常だった。
<108> I wander about the town during night.
// 夜の町をうろつく。
<109> My final destination is always the same.
// 最後に行き着く場所はいつも同じだ。
<110> I head for a bento vendor, and then buy a bento for my dinner.[2]
// 行きがけにある弁当屋で、夕飯となる弁当を買い求めた後…
<111> With that in my hand, I head for the student dormitories by the foot of the hill on which my school was located.
// それを手に、学校の坂下に建つ学生寮へ。
<112> Our school particularly stresses on club activities, thus we get many students from the area.
// うちの学校は特に部活動に力を入れているため、地方から入学してくる生徒も多い。
<113> These students leave their parents and home. Instead, they spend three years here.
// そんな生徒たちは親元を離れて、ここで三年間を過ごすことになるのだ。
<114> Totally unlike me; unlike I who have no goals for my student career.
// 俺のような学生生活に夢も持たない人間とはまったく違う人種。
<115> I am not concerned with meeting any of these people, but that guy… Sunohara resides here.
// 関わり合いになることもなかったが、こんな場所にあいつ…春原は住んでいるのだ。
<116> Sunohara was originally from the soccer team; he was one who was recommended this school for its sports.
// 春原は元サッカー部で、この学校にも、スポーツ推薦で入学してきた人間だ。
<117> But during his first year, he got into a large fight with students from another school and was suspended. And he stopped being a regular member.
// しかし一年生の時に他校の生徒と大喧嘩をやらかし停学処分を受け、レギュラーから外された。
<118> After the recruitment for new members ended the next year, he no longer had any place in the club.
// そして新人戦が終わる頃には、あいつの居場所は部にはなかった。
<119> He could only quit.
// 退部するしかなかったのだ。
<120> After that, he did not have the money to change lodgings, he thus continued living at the dorms for members of sports teams.
// その後も別の下宿に移り住む金銭的余裕もなく、この体育会系の学生が集まる学生寮に身を置き続けているのだ。
<121> \{Voice}“How many times do I have to repeat myself to make you understand, huh?”
// \{声}「何度言えばわかるんだよっ」
<122> \{Sunohara}“But it’s already all totally soft.”
// \{春原}「でも、すげぇ小さい音だったっての」
<123> Sunohara’s there.
// 春原がいた。
<124> He was talking to a gargantuan male with an awkward build outside someone else’s room.
// 別の部屋の前で、やたら図体のでかい男子生徒と話をしていた。
<125> \{Young Man}“Even if it’s all totally soft, the thin walls will leak sound!”
// \{男子}「すげぇ小さい音でも、壁が薄いから響くんだよっ！」
<126> \{Young Man}“Use the damn headphones!”
// \{男子}「ヘッドホンで聴けよっ」
<127> \{Sunohara}“I don’t hav’ such high–grade equipment, haha.”
// \{春原}「んな高級なもんねぇって、ははっ」
<128> \{Young Man}“Then don’t listen at all!”
// \{男子}「じゃあ、聴くなっ」
<129> \{Sunohara}“Nay, if I don’t listen I won’t feel in the mood, huh.”
// \{春原}「いや、でも、あれ聴かないと、調子出ないんだよね」
<130> \{Sunohara}“Furthermore, it’s a splendid, cool song huh?”
// \{春原}「それに、結構、イカす音楽だと思うんだよね」
<131> \{Young Man}“……….”
// \{男子}「………」
<132> \{Sunohara}“Why don’t you try listening to the lyrics this time huh? They’re great.”
// \{春原}「今度、歌詞とかちゃんと聴いてみてよ、イカしてるから」
<133> \{Young Man}“There’s nothing remotely cool about it….”
// \{男子}「イカしてるも何もねぇ…」
<134> \{Young Man}“You’re making me seriously PISSED!”
// \{男子}「こっちは、むかついてんだよぉっっ！」
<135> \{Young Man}“The next time I hear that, I’ll kick you out!”
// \{男子}「次聞こえてきたら、叩き出すぞっ！」
<136> Batan’[J]!\shake{4} *Bam
// バタンッ！\shake{4}
<137> \{Sunohara}“Hii!”
// \{春原}「ひぃっ！」
<138> \{Sunohara}“……….”
// \{春原}「………」
<139> In front of the shut door, Sunohara stood with his head looking down.
// 閉ざされたドアの前で、うなだれる春原。
<140> \{Sunohara}“Damn…fucking rugby bastard….”
// \{春原}「くそぅ…ラグビー部め…」
<141> He mumbled softly.
// そう小さく呟いた。
<142> \{\m{B}}“With that voice, they wouldn’t be able to hear, y’know.”
// \{\m{B}}「んな声じゃ、聞こえないだろ」
<143> \{\m{B}}“\size{30}DAMN! FUCKING RUGBY BASTARRD–’! \size{}”
// \{\m{B}}「\size{30}くそぅ！ラグビー部めえぇぇぇーっ！\size{}」
<144> Standing behind him, I shout out his comment.
// その背後に立ち、大きな声で言い直してやる。
<145> \{Sunohara}“Hiii’!”
// \{春原}「ひぃぃっ！」
<146> He engaged me in a headlock and dragged me into his room.
// 春原は俺の頭を抱えると、自分の部屋へと引きずり込む。
<147> Down the corridor, an angry reply came: ‘WHO WAS THAT JUST NOW?!’
// 廊下では、『今の誰だぁっ！』と怒声が響いていた。
<148> \{Sunohara}“Haa…haa….”
// \{春原}「はぁ…はぁ…」
<149> \{Sunohara}“Were you trying to get me killed’?!”
// \{春原}「僕を殺す気かっ！」
<150> \{\m{B}}“Wasn’t it you who first said that?”
// \{\m{B}}「おまえが言ったんじゃないかよ」
<151> \{Sunohara}“Ahem, excuse me, \m{A}….”
// \{春原}「あのさ、\m{A}…」
<152> \{Sunohara}“Even at the best of times, I don’t get along well with the guys over here, you know ….”
// \{春原}「ただでさえ、ここのところ、連中との関係が穏やかじゃなくなってるんだからさ…」
<153> \{\m{B}}“Show them who’s the boss man.”
// \{\m{B}}「派手に散ろうぜ」
<154> \{Sunohara}“I have one more year left, you know that?!”
// \{春原}「後、一年残ってるよっ！」
<155> \{\m{B}}“And so you intend to live in fear.”
// \{\m{B}}「おまえ、そうやって、ビクビク暮らしてくのな」
<156> \{Sunohara}“Hey….”
// \{春原}「あのね…」
<157> \{Sunohara}“I couldn’t even take them on one–to–one. For one, the opponents are all rugby guys, yea?”
// \{春原}「僕だって、一対一なら引くことはないさ。たとえ、相手がラグビー部だとしてもね」
<158> \{Sunohara}“Even though the rooms surrounding mine all belong to the rugby team….”
// \{春原}「けど、周りは全部ラグビー部の部屋…」
<159> \{Sunohara}“If I cause any, like, trouble over here… things won’t be pretty for me, like….”
// \{春原}「こんな場所で事を起こした日にゃ…分が悪すぎるよ…」
<160> \{Sunohara}“But, well, if it’s just before graduation, it might not be half bad huh.”
// \{春原}「でも、まぁ、卒業間際になったら、派手にやるのもいいね」
<161> \{Sunohara}“When the time comes, \m{A}, you’ve got my back, man.”
// \{春原}「そん時は、\m{A}、僕の背中はおまえに任せるぜっ」
<162> \{\m{B}}“Good! I’ll tag along!”
// \{\m{B}}「ラッキー、ザックリいくな」
<163> \{Sunohara}“DAMN, don’t come! Get away!”
// \{春原}「くるなよっ！いけよっ！」
<164> \{\m{B}}“But I’m on the rugby team’s team, y’see?”
// \{\m{B}}「だって、俺、ラグビー部側だぜ？」
<165> \{Sunohara}“Since when?!”
// \{春原}「いつからだよっ！」
<166> \{\m{B}}“Nope, only when the time comes.”
// \{\m{B}}「いや、そん時だけ」
<167> \{Sunohara}“Okay? Why!?”
// \{春原}「はい！？なんでよっ！？」
<168> \{Sunohara}“What on earth was the past two years we’ve been comrades for?! Eeh’!?”
// \{春原}「共に過ごしてきた僕らの二年間は一体何よっ！ええっ！？」
<169> \size{30}Doon’!\size{}\shake{4} *Boom
// \size{30}どぉんっ！\size{}\shake{4}
<170> The wall shook.
// 壁が揺れた。
<171> Following that, an angry shout was heard: ‘Shut the HELL UP’!’
// 続けざま、『静かにしろぉっ！』と怒鳴り声。
<172> \{Sunohara}“Hii’.”
// \{春原}「ひぃっ」
<173> \{\m{B}}“Kick him back!”
// \{\m{B}}「蹴り返してやろう」
<174> \{Sunohara}“Stop IT’!”
// \{春原}「やめてくれぇっ！」
<175> \{Sunohara}“}“You look really tense, y’know.”
// \{\m{B}}「おまえ、超ビビリな」
<176> \{Sunohara}“You; …look from my perspective here….”
// \{春原}「おまえな…僕の立場に立ってみろよ…」
<177> He’s crying….
// 泣いている…。
<178> \{Sunohara}“I’m begging you, please, really, just please don’t be rowdy.”
// \{春原}「頼むから、ここでは大人しくしててくれ」
<179> \{\m{B}}“Ah, oh….”
// \{\m{B}}「あ、ああ…」
<180> I was taken aback at the intensity of his misery.
// その迫力ある惨めさに気圧されてしまう。
<181> Mogumogu[J]…. *munch munch
// もぐもぐ…
<182> I relaxed myself in the confined space between the ancient kotasu and the wall, and started eating my bento.[3]
// 俺は壁と万年コタツに挟まれた狭い空間に腰を落ち着けて、弁当を食べ始めていた。
<183> \{\m{B}}“Excuse me, tea please.”
// \{\m{B}}「悪い、お茶」
<184> \{Sunohara}“Ain’t got NONE’!”
// \{春原}「出ねーよっ！」
<185> \{\m{B}}“That’s why I said “Excuse me” and “please”, didn’t I?”
// \{\m{B}}「だから悪いって、言ってるじゃん」
<186> \{Sunohara}“Use your brains, I haven’t any tea’!”
// \{春原}「頭下げようが、出ねぇよっ」
<187> \{Sunohara}“Have you mistaken this for a cafeteria or something?”
// \{春原}「おまえ、ここが食堂かなんかと勘違いしてない？」
<188> \{\m{B}}“This is your room. I can tell at least that much.”
// \{\m{B}}「おまえの部屋だろ。わかってるよ」
<189> \{Sunohara}“Yes.”
// \{春原}「ああ」
<190> \{\m{B}}“And that makes you the maid.”
// \{\m{B}}「そして、おまえは、小間使いだ」
<191> \{Sunohara}“You so totally do not get it.”
// \{春原}「ぜんぜんわかってないっすね」
<192> \{\m{B}}“Thanks for the favour then, I forgot to buy some.”
// \{\m{B}}「頼むよ、買い忘れてきたんだよ」
<193> \{Sunohara}“And it hasn't occurred to you that you could just get out to buy some yourself….”
// \{春原}「自分で行くという発想は、浮かばないのかよ…」
<194> \{\m{B}}“But by doing so you are, like say, helping in my life, and as helping me is your duty, there’s no better logic, not?”
// \{\m{B}}「だって、おまえ、俺に命を助けられてからというもの、俺の役に立ちたくて、仕方がなかったんだろ？」
<195> \{Sunohara}“You can never convince me to believe that nonsense.”
// \{春原}「そんな裏設定は隠されていませんっ」
<196> \{\m{B}}“It’s like what you said after you saved me.”
// \{\m{B}}「俺が助けた後、おまえ、言ったじゃん」
<197> \{\m{B}}“During the time, when this person called Sunohara died….”
// \{\m{B}}「春原という男は、あの時死にました…」
<198> \{\m{B}}“What remains now, as a memory of my service to you, is a cup of bitter tea…was what he had said.”
// \{\m{B}}「今ここにいるのは、あなたにお仕えする、ただのお茶くみなのです…てさ」
<199> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<200> \{Sunohara}“Don’t spin grandiose lies!”
// \{春原}「壮大な嘘つくなっ」
<201> \{\m{B}}“Just your last cup will do.”
// \{\m{B}}「じゃあ、最後のお茶でいいから」
<202> \{Sunohara}“There’s no first cup, and never a last!”
// \{春原}「最初も最後もねぇよっ」
<203> \{\m{B}}“No, I’m very touched; you used up all your strength for my request.”
// \{\m{B}}「いや、感動的だぜ。これ聞いたら、おまえは、絶対入れたくなるな」
<204> \{\m{B}}“You suffered a major injury, just to help me.”
// \{\m{B}}「大怪我を負ったおまえは、もう助かりそうもなかった」
<205> \{\m{B}}“And that very you abided my command to collect this tea just for the sake of the thirsting me.”
// \{\m{B}}「そのおまえに、のどが渇いた俺は、お茶くみを命ずる」
<206> \{\m{B}}“Thereupon, you summoned you very last, and, crawling on your knees, poured the tea into the cup.”
// \{\m{B}}「すると、おまえは最後の力を振り絞り、這いつくばりながらも、お茶を入れにいくんだ」
<207> \{\m{B}}“And then….”
// \{\m{B}}「そして…」
<208> \{\m{B}}“\m{A}–sama…here is your tea.”
// \{\m{B}}「\m{A}様…お茶でございます…」
<209> \{\m{B}}“And then, this will be…the last…cup of tea I am making….”
// \{\m{B}}「そして、これが…最後の…お茶となります…」
<210> \{\m{B}}“And when you died, your face was smiling with contentment.”
// \{\m{B}}「死に顔は、笑顔なんだ」
<211> \{Sunohara}“You truly like messing around with me, don’t you!”
// \{春原}「僕、ムチャクチャ本望そうっすね！」
<212> \{\m{B}}“But wasn’t that your wish?”
// \{\m{B}}「それが、おまえの望みなんだって」
<213> \{\m{B}}“And then, I was weeping, as I drank your last cup of tea.”
// \{\m{B}}「そして、俺は泣きながらに、その最後のお茶を飲む」
<214> \{\m{B}}“Ah, it was really very moving.”
// \{\m{B}}「な、感動的だろ」
<215> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<216> \{Sunohara}“Told’ya I haven’t got ANY.”
// \{春原}「出ねぇってのっ」
<217> After that, I and read through one of his magazines.
// それからは、雑誌を読んで、過ごす。
<218> As there was no television, other than chatting and going through magazines, there was no other way of passing time.
// テレビがなかったから、話をするか、本を読む以外に、時間を潰す方法はなかった。
<219> \{Sunohara}“Huaah….”
// \{春原}「ふわ…」
<220> \{Sunohara}“It’s about time. Aren’t you going to sleep?”
// \{春原}「そろそろ、寝ない？」
<221> It was already late; the day was over, and it was late at night.
// すでに日付は変わり、深夜となっていた。
<222> \{\m{B}}“Yes…you’re right.”
// \{\m{B}}「ああ…そうだな」
<223> I didn’t want to sleep in Sunohara’s room.
// 俺は春原の部屋に泊まることだけはしなかった。
<224> The mere thought of waking up beside such a person in the morning was already depressing.
// こんな奴と共に朝を迎えるなんて、想像しただけでも憂鬱になる。
<225> \{Sunohara}“I’m going to take a shower then.”
// \{春原}「じゃ、僕、シャワー浴びてくっから」
<226> \{\m{B}}“Ya.”
// \{\m{B}}「ああ」
<227> From within the pile of clothes by a corner of the room, Sunohara fished out a pair of undergarments and a towel, and proceeded out of the room.
// 部屋の隅で山となっている衣類の中から、下着とタオルを引っ張り出すと、春原は部屋を出ていく。
<228> \{\m{B}}“……….”
// \{\m{B}}「………」
<229> I would really want to avoid facing Sunohara when her returns after his shower.
// シャワーから戻ってきた春原を迎える、という状況もできたら避けたい。
<230> I should be going home just about now.
// 今のうちに帰ることにしよう。
<231> I closed the magazine, and got up.
// 雑誌を閉じて、体を起こす。
<232> Thereupon, I chanced on a radio–cassette player in front of me.
// すると、すぐ正面、一台のラジカセと向き合わせになる。
<233> There was a cassette inserted inside.
// 中にはテープが入ったままになっていた。
<234> I played it.
// 再生してみる。
<235> When the tape started rolling, a hip–hop song that used to be popular long ago could be heard.
// 流れてきたのは、一昔前に流行った、歌謡ヒップホップ。
<236> \m{B} (The hell…)
// \{\m{B}}（ダッサ…）
<237> \m{B} (I’m not listening to this…)
// \{\m{B}}（こんなの聴かねぇだろ…）
<238> Rap over the cassette
// 上書きで何か吹き込む
<239> Give it a pass
// やめておく
<240> K’; I guess I’m going to rap an original instead.
// よし、代わりに俺のオリジナルラップを吹き込んでやろう。
<241> The title is, ‘From me to my best friend, Sunohara, rap’.
// テーマは『俺から、親友春原に捧ぐラップ』だ。
<242> The thought of him choking with emotion came into my mind.
// あいつの感動にむせぶ姿が目に浮かぶ。
<243> \m{B} (Here I go…)
// \{\m{B}}（いくぞ…）
<244> With a deep breath, I pushed the record button.
// 息を大きく吸い込み、録音ボタンを押す。
<245> \{\m{B}}“… YO! YO! Here’s \m{A}! You’re,”
// \{\m{B}}「…YO! YO! オレ\m{A}！オマエはっ」
<246> As the tune went on, I spun out my words.
// テンポよく、言葉を紡ぎ出す。
<247> \{\m{B}}“You’re….”[4]
// \{\m{B}}「オマエは…」
<248> But… I couldn’t think of any words after that.
// が…その先が何も浮かんでこない。
<249> Stop. I sound like an idiot…
// やめた。アホらし…
<250> Say anything relevant that comes to mind.
// 適当に思いついた言葉を発する
<251> \{\m{B}}“A Mongolian chop!”
// \{\m{B}}「モンゴリアンチョップ！」
<252> \{\m{B}}“No, you’ll get a Mongolian Chop”
// \{\m{B}}「いや、オマエに、モンゴリアンチョップ」
<253> \{\m{B}}“Wait, it doesn't make any sense no matter how I say it….”
// \{\m{B}}「って、どちらにしても意味不明だな…」
<254> \{\m{B}}“Evolved above shore into the WuperRuper!”
// \{\m{B}}「陸に上がって進化を遂げたウーパールーパー！」
<255> \{\m{B}}“Hmm…? I said it as a joke, but it somehow turned out sounding serious….”
// \{\m{B}}「あれ…？冗談で言ったのに、なんだかマジでそう思えてきたぞ…」
<256> \{\m{B}}“……….”
// \{\m{B}}「………」
<257> \{\m{B}}“You’re…WuperRuper?”
// \{\m{B}}「おまえ…ウーパールーパー？」
<258> \{\m{B}}“Made–In–China!”
// \{\m{B}}「メイド・イン・チャイナ！」
<259> \{\m{B}}“Mass produced by China.”
// \{\m{B}}「中国で大量生産されてんだ」
<260> \{\m{B}}“With innards!”
// \{\m{B}}「って、キモッ！」
<261> \{\m{B}}“Cock–a–doodle–doo–!”
// \{\m{B}}「クックドゥードゥルドゥー！」
<262> \{\m{B}}“Uwah, I have no idea what I am talking about ~! Hahahaha!”
// \{\m{B}}「うわ、俺ひとりで何言ってんだろ、わっけわかんね～！はははは！」
<263> \{\m{B}}“Aotenagahukurooosunoharamodoki!”
// \{\m{B}}「アオテナガフクロオオスノハラモドキ！」
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”[5]
// \{\m{B}}「青くて手が長くて袋を持ってて大きい春原のモドキなんだ」
<265> \{\m{B}}“Wait, imitation clay figure isn’t as frightening as original!/p Hey, what if I meddled with it?””
// \{\m{B}}「って、モドキじゃないオリジナルで十分怖ぇよっ！\pってツッコミたくならんか？」
<266> \{\m{B}}“Have a topknot hairstyle!”[6]
// \{\m{B}}「ちょんまげ！」
<267> \{\m{B}}“Nay, Sunohara doesn’t have a topknot hairstyle….”
// \{\m{B}}「いや、ちょんまげじゃねぇし…」
<268> \{\m{B}}“Then this rap would be one huge lie….”
// \{\m{B}}「じゃ、このラップ嘘になるじゃん…」
<269> \{\m{B}}“Sunohara, my bad, go get a topknot hairstyle.”
// \{\m{B}}「春原、わりぃ、ちょんまげにしてくれ」
<270> \{\m{B}}“Hpfuu’….”
// \{\m{B}}「ぷっ…」
<271> \{\m{B}}“Crap, I laughed before I could say the words.”
// \{\m{B}}「やべ、言う前に自分で笑っちまった」
<272> \m{B} (… forget it. I sound like an idiot…)
// \{\m{B}}（…やめた。アホらし…）
<273> \{\m{B}}“… forget it. I sound like an idiot….”
// \{\m{B}}「…やめた。アホらし…」
<274> I hit it in frustration.
// 速攻で挫折する。
<275> What’s my problem, doing such stuff for his sake?
// どうして、あいつのためにこんなことをしてやらなくちゃいけないんだ。
<276> In the first place, you couldn’t call our relationship close.
// そもそも、親友なんて呼べるほどの間柄でもないじゃないか。
<277> \m{B} (Gotta hurry home…)
// \{\m{B}}（とっとと、帰ろう…）
<278> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
<279> For once, I left his room as is, even though the day did ended without me completing anything….
// かつて、俺をひとり部屋に放置して、何事もなく終わったことはないのだが…
<280> I’ll spare him for today, huh.
// 今日のところは許しておいてやるか。
<281> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
</pre>
</div>

=== Notes ===
[1]
<43> \{Girl}“Do you like this school?”
*can also be translated as: \{Girl}“Do I like this school?”.

[2]
<110> I head for a bento[J] vendor, and then buy a bento for my dinner.
*A bento is a Japanese box filled with food.

[3]
<182> I relaxed myself in the confined space between the ancient kotasu[J] and the wall, and started eating my bento.
*A kotasu is a table with a heater underneath.

[4]
<247> \{\m{B}}“You’re…”
*Is translated as \{\m{B}}“You…” in several versions of the next line in the rap.

[5]
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”
*Blue hands held a long bag, with an imitation Sunohara clay figure.

[6]
<266> \{\m{B}}“Have a topknot hairstyle!”
*Is a hairstyle popular in ancient Japan; http://en.wikipedia.org/wiki/Chonmage

== Alternative translation ==
I wish to post my translation to be used as additional materials to edit with, but it's in the wrong format (and thus cannot be used as a preview), and I do not know where to post it.[[User:Jc100|Jc100]] 04:38, 6 February 2007 (PST)

I suggest using this page and use the clannadbox div tags:
<pre><div class="clannadbox">
<pre>
insert text here
</pre>
</div></pre>

-- [[User:Velocity7|velocity7]], 7:56 AM EST February 6, 2006

Actually, I meant that my translation was not in the SEEN format, I extracted it out for ease. I'll post mine for comparison though.[[User:Jc100|Jc100]] 19:15, 9 February 2007 (PST)

Since V7 didn't give me any specific instructions, I would be taking some liberal liberties with the editing of the text here, especially with tenses.

Forgive me if I make some errors here and there as I can't read Japanese, and am fairly new to this editing business. Please bring to light anything that is really supposed "to be like that".

p.s@velocity7: Bicube sends you a punch.

--[[User:Umiman|umiman]] 18:36, 12 February 2007 (PST)

Can someone look over lines 0088 - 0092.

It doesn't really seem to make sense how his father was depressed before the accident, and depressed again after the accident.

Also, there are issues with lines 0114 - 0115.

--[[User:Umiman|umiman]] 19:06, 13 February 2007 (PST)

This was the original translation I made, does this sounds better?
******
Line 0114: They are totally different from me who has no dream at all.
Line 0115: I couldn't care less though, and also in this place... lives Sunohara.

******
About 0088 - 0092: Tomoya's father was depressed when he lost his wife, and made him waste his time by drinking alcohol and gambling. But one day, Tomoya and his father had a fight that end up injuring Tomoya, after that, his father locked up his feelings (maybe pretend to lock his feelings) towards Tomoya and started calling his name with a -kun attached to it.--[[User:DGreater1|DGreater1]] 19:37, 16 February 2007 (Phillipine time)

:@Uniman. See if the way my translation phrases it better. Feel free to 'assimilate' some of my lines to the main text file, or use your own if you have a new perspective on hhow to phrase them. But make sure to change the ellipse characters into sets of three periods, and the open and close quotation marks into just plain quotation marks as per the guidelines.

:--[[User:Jc100|Jc100]] 23:13, 18 February 2007 (PST)

******
Sorry for the long delay in reading this. Sick for quite awhile and had a lot of projects to do:

Line 0114: Reworked the sentence to fit.

Line 0115: I suggest using JC100's translation for this. I also suggest using Jc's translation for lines 0088 to 0092 as well.

From what I can see, DGreater1 and JC100 have quite contrasting translation styles. DGreater seems to focus more on faithfulness to the original text while JC100 is more keen on making it sound nice in English.

I might be wrong though, but I'll suggest the times when it might be better to switch between the two.

p.s: This is mostly a rough go-through. It's hard reading two translations at once, so please bear with me :).

--[[User:Umiman|umiman]] 22:29, 4 March 2007 (PST)
=== SEEN0414 and SEEN0415 Line Consistency ===
<pre>
****************************************
SEEN0414 Original
****************************************
<0047> Probably wondering what her boyfriend (or girlfriend) would say.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<0048> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0049> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0050> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0051> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0052> With great difficulty, she continues to speak.
****************************************
SEEN0415 Original
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really really like this school." // same with line 0048 from SEEN0414
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, there might be nothing here that will never change." // same with line 0049 from SEEN0414
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Enjoyable things and happy things, all of them." // same with line 0050 from SEEN0414
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "All of them will change."
// \{女の子} 「ぜんぶ、変わらずにはいられないです…」// same with line 0051 from SEEN0414
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
****************************************
SEEN0415 With the lines from SEEN0414
****************************************
<0456> I heard this line before. But this time, she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
// 最後の言葉は俺が言っていた。
</pre>

What I mean is, is line 459-463 enough to make Tomoya think about ''"And then, you'll end up not liking this place anymore?"?''
Line 49-52 in SEEN0414 seems to be missing some context which makes Tomoya's line '''"And then, you'll end up not liking this place anymore?"''' quite confusing if you put it in SEEN0415 Line 459-463.

I'll try to put type it in like a book novel to make more sense...

<br>'''First Group'''<br>
She said, "I really, really do... But nothing... can remain the same."<br>
"Even fun things and happy things... Nothing stays that way forever."<br>
............
"And then, you'll end up not liking this place anymore?" Tomoya said the last line he thought she was thinking... <br>
"That's right." she replied.
<br>
<br>'''Second Group'''<br>
She said, "I really really like this school... But, there might be nothing here that will never change."<br>
"Enjoyable things and happy things, all of them... All of them will change."<br>
............
"And then, you'll end up not liking this place anymore?" Tomoya said the last line he thought she was thinking... <br>
"That's right." she replied.<br>

You see the difference with the lines? The first group of sentence is emphasizing that nothing stays the same forever, while the second group is emphasizing that there might be nothing there that will ever change. The lost of context makes the first group sound like Tomoya just blurted out the sentence '''"And then, you'll end up not liking this place anymore?"''' without reason. ''Nothing stays that way forever'' and Tomoya's line doesn't seem to connect properly too. Compared to ''"All of them will change, and then you'll end up not liking this place anymore."''

Talk:Clannad:SEEN0414

2007-04-22T06:31:31Z

Dgreater1: Geh... I accidently pressed save paged XD

== Alt. Translation Post ==

<div class="clannadbox">
<pre>
// Resources for SEEN0414.TXT

#character '＊Ｂ'
//#character '＊Ｂ'
#character 'Voice'
//#character '声'
#character 'Girl'
//#character '女の子'
#character 'Teacher'
//#character '教師'
#character 'Sunohara'
//#character '春原'
#character 'Young Man'
//#character '男子'

<0> I hate this town.
// この町は嫌いだ。
<1> It’s because there are places stained with memories that I wish to forget.
// 忘れたい思い出が染みついた場所だから。
<2> Going to school every day, attending lessons every day, chatting with friends every day, and then returning to the house that I do not wish to return, every day.
// 毎日学校に通い、授業を受け、友達とだべり、そして帰りたくもない家に帰る。
<3> Nothing new, or the like, ever occurs.
// 何も新しいことなど始まらない。
<4> \m{B} (With this routine carrying on, I wonder if anything has actually changed….)
// \{\m{B}}（こうしていて、何かが変わるんだろうか…）
<5> \m{B} (When will my life ever change…?)
// \{\m{B}}（俺の生活は、いつか変わるんだろうか….）
<6> A town separated all over by rampant greenery.
// やたらと自然が多い町。
<7> Having to detour around mountains to attend school.
// 山を迂回しての登校。
<8> If only I could cut through all the mountains, how much easier it would probably have been.
// すべての山を切り開けば、どれだけ楽に登校できるだろうか。
<9> If I walked in a straight line, I would then be able to shave off about 20 minutes.
// 直線距離を取れば、２０分ぐらいは短縮できそうだった。
<10> \m{B} (One day, 20 minutes….)
// \{\m{B}}（一日、２０分…）
<11> \m{B} (And thus, in a year, roughly how much time will I be able to gain?)
// \{\m{B}}（すると、一年でどれぐらい、俺は時間を得することになるんだ….）
<12> I do the mathematics while walking.
// 計算しながら、歩く。
<13> \m{B} (Aah, hell, I have totally no idea….)
// \{\m{B}}（ああ、よくわかんねぇ…）
<14> I see nobody nearby who appears to be a schoolmate.
// 辺りに同校の生徒の姿はない。
<15> As this is the main street that leads to school, it should essentially be flourishing with pupils.
// 学校に続く大通りだから、本来、生徒で賑わっているはずだった。
<16> Today is not a holiday or anything.
// 今日が、休日というわけでもない。
<17> In other words…this is not the time when a student ought to attend school; and thus is the situation now.
// つまりは…生徒が登校すべき時間ではない、ということ。
<18> But, despite appearing to have a cannot–be–bothered attitude from a spectator’s perspective, I did not hurry, and continued with my easygoing pace.
// けど、そんな閑散とした光景を目の当たりにしても俺は焦ることなく、悠長に歩き続けた。
<19> ……….
// ………。
<20> 200 meters left to the school gate.
// 校門まで残り２００メートル。
<21> I stop for a moment, out of breath.
// 一度立ち尽くす。
<22> \{\m{B}}“Haa.”
// \{\m{B}}「はぁ」
<23> And sigh, simultaneously looking towards the sky.
// ため息と共に空を仰ぐ。
<24> The destination was the school gate.
// その先に校門はあった。
<25> Whose choice has it been, to lay the gate at such a place?
// 誰が好んで、あんな場所に校門を据えたのか。
<26> The long sloping path extended high up, like those in nightmarish dreams.
// 長い坂道が、悪夢のように延びていた。
<27> \{Voice}“Haa.”
// \{声}「はぁ」
<28> An other, different sigh. Smaller and shorter than mine.
// 別のため息。俺のよりかは小さく、短かかった。
<29> I looked beside me.
// 隣を見てみる。
<30> There, standing exhausted like I, was a female student.
// そこに同じように立ち尽くす女生徒がいた。
<31> From the colour of her school badge, I could tell she was another third–year student.
// 校章の色から、同じ三年生だとわかる。
<32> However, her face is not familiar.
// けど、見慣れない顔だった。
<33> Her short hair that ended by her shoulders flutters in the wind.
// 短い髪が、肩のすぐ上で風にそよいでいる。
<34> Female child “……….”
// \{女の子}「………」
<35> A face that appeared to be on the verge of tears.
// 今にも泣きだしそうな顔だった。
<36> I was somewhat of a habitual latecomer and thus have no qualms about coming late today, but with a diligent girl like her…
// 俺なんかは常習犯だったからなんとも思わないが、真面目な奴なのだろう…
<37> Going into class now by herself must be somewhat tough.
// この時間にひとり教室に入っていくことに抵抗があるのだ。
<38> \{Girl}“Yes, yes….”
// \{女の子}「うんうん…」
<39> She appeared to be whispering something to herself, with her eyes closed, and nodding from moment to moment.
// 何かを自分に言い聞かせるように、目を瞑って、こくこくと頷いている。
<40> Female Child “……….”
// \{女の子}「………」
<41> And then, she opened her eyes.
// そして少女は目を見開く。
<42> Ji–tto[J], fixed her eyes on the school gate, high above.
// じっと、高みにある校門を見つめた。
<43> \{Girl}“Do you like this school?”[1]
// \{女の子}「この学校は、好きですか」
<44> \{\m{B}}“Eh…?”
// \{\m{B}}「え…？」
<45> No, she was not asking me.
// いや、俺に訊いているのではなかった。
<46> The question was posed for a person existing in her imagination.
// 妄想の中の誰かに問いかけているのだ。
<47> I do wonder how that guy (or possibly female) may answer.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<48> \{Girl}“I like this school very, very much.”
// \{女の子}「わたしはとってもとっても好きです」
<49> \{Girl}“But, just about everything… I am unable to change along with.”
// \{女の子}「でも、なにもかも…変わらずにはいられないです」
<50> \{Girl}“Like those that are fun, like those that fill with joy, all of them.”
// \{女の子}「楽しいこととか、うれしいこととか、ぜんぶ」
<51> \{Girl}“All of them, I am unable to change along with.”
// \{女の子}「ぜんぶ、変わらずにはいられないです」
<52> With apparent difficulty, her conversation continued.
// たどたどしく話し続ける。
<53> \{Girl}“Even then, do I still like this place?”
// \{女の子}「それでも、この場所が好きでいられますか」
<54> ……….
// ………。
<55> \{Girl}“I….”
// \{女の子}「わたしは…」
<56> \{\m{B}}“Why don’t you try looking for them?”
// \{\m{B}}「見つければいいだけだろ」
<57> \{Girl}“Eh’…?”
// \{女の子}「えっ…？」
<58> Surprised, the girl looked towards my face.
// 少女が驚いて、俺の顔を見る。
<59> It seemed as though she had completely believed that there had not been anybody around.
// まるで、今まで誰もいないと信じていたかのようにだ。
<60> \{\m{B}}“Looking for other fun and happy things will solve the problem, won’t it?”
// \{\m{B}}「次の楽しいこととか、うれしいことを見つければいいだけだろ」
<61> \{\m{B}}“Do you have only one fun and happy activity? That’s not so, right?”
// \{\m{B}}「あんたの楽しいことや、うれしいことはひとつだけなのか？違うだろ」
<62> \{Girl}“……….”
// \{女の子}「………」
<63> Yes.
// そう。
<64> Times when we were pure and did not know anything.
// 何も知らなかった無垢な頃。
<65> Everybody has had a time like that.
// 誰にでもある。
<66> \{\m{B}}“Come on, let’s go.”
// \{\m{B}}「ほら、いこうぜ」
<67> April 14th (Monday)
// ４月１４日(月)
<68> \{Teacher}“Sunohara[J].”
// \{教師}「春原（すのはら）」
<69> The teacher called out the name of a student.
// 教師があるひとりの生徒の名を口にした。
<70> \{Teacher}“Absent, as usual.”
// \{教師}「相変わらずいないのか」
<71> I looked beside. Over there was Sunohara’s seat.
// 隣を見る。そこが春原の席だった。
<72> His attendance was worse than mine.
// こいつの遅刻率は俺より高い。
<73> Together, we are the only ones labelled as delinquents in the class.
// ふたり合わせてクラスの不良生徒として名指しされることが多かった。
<74> Maybe it’s because of that that we get along well.
// だからだろう、よく気が合う。
<75> Thus, among the class’s students, we can only chat with each other casually.
// そして、クラスの中で、唯一俺が心を許して話すことのできる人間だった。
<76> The lesson starts.
// 授業が始まる。
<77> I looked out of the window.
// 俺は窓の外を見て過ごした。
<78> The teacher’s words never made it past my ear.
// 教師の声はすべて聞き流して。
<79> A day’s worth of lessons has ended; it is now after class.
// 一日の授業を終え、放課後に。
<80> Even till the last moment, that Sunohara never came.
// 春原の奴は最後までこなかった。
<81> In the end, the only person whom I talked with today was that girl from this morning.
// 結局、今日俺が話をしたのは、朝に出会った女生徒だけだった。
<82> An everyday that truly never changes for the better.
// 実に代わり映えしない毎日。
<83> As I had not joined any club, I grabbed my empty bag and left the classroom; avoiding the jabbering students.
// 部活にも入っていない俺は、空っぽの鞄を掴むと、だべる生徒の合間を抜けて、教室を後にした。
<84> Even if I headed for home, there will not be anyone at this time of day.
// 家に帰っても、この時間は誰もいない。
<85> To start with, I did not have a mother anymore.
// もとより母親はいなかった。
<86> She died in a traffic accident when I was young; I don’t even remember her face.
// 俺が小さい頃に、交通事故で亡くなったそうだ。顔すら覚えていなかった。
<87> Maybe it was because of the shock of losing my mother… left behind, my father rotted away.
// 母を亡くしたショックでだろうか…残された父は堕落していった。
<88> He drank without end; he ruined his life by spending his free time of gambling.
// アルコールを絶やすことなく飲み続け、賭け事で暇を潰す生活。
<89> My youth was spent arguing with my father to fill the emptiness in our hearts.
// 少年時代の俺の暮らしは、そんな父との言い争いにより埋め尽くされた。
<90> But because of an incident, our relationship changed.
// けど、ある事件をきっかけにその関係も変わってしまった。
<91> He exhibited violence; I suffered an injury.
// 俺に暴力を振るい、怪我を負わせたのだ。
<92> Ever since that day, my father did not show any emotion.
// その日以来、父親は感情を表に出さないようになった。
<93> Furthermore, he never calls me by name; addressing me as ‘\m{B}–kun’, like an unrelated person.
// そして、俺の名を昔のように呼び捨てではなく、『\m{B}くん』とくん付けで呼び、言動に他人行儀を感じさせるようになった。
<94> As expected, I was in the process of joining the ranks of an outsider.
// それはまさしく、他人同士になっていく過程だった。
<95> It was as though a shell had shut us off to each other entirely, so to speak.
// まるで殻に閉じこもっていくように。
<96> It was as though we had wanted to sever all connections of the past from the present.
// 今と過去との接点を断ち切るように。
<97> It was a relief that we had rejected each other.
// 突き放すならまだ、よかったのに。
<98> Even though I was wounded, I was saved from the constant arguing.
// 傷つけてくれるなら、まだ救われたのに。
<99> In spite of that, when he notices that I had arrived home, he rejoices as though I am a visiting old friend…and proceeds to gossip.
// なのに父は学校から帰ってきた俺の姿を見つけると、まるで旧友が訪れたように喜んで…そして世間話を始めるのだ。
<100> My chest fills with hurt; I do not wanted to recollect.
// 胸が痛くなって、居たたまれなくなって…
<101> I ran out of the house.
// 俺は家を飛び出すのだ。
<102> Not wanting to see his face, it became a daily routine for me to not return home till late at night, when my father was asleep.
// だから顔を合わせないよう、親父の寝入る深夜になるまで家には戻らない生活をずっと続けていた。
<103> Because I go to bed in the wee hours of dawn, it is usually noon when I wake.
// 明け方に寝るから、目覚めるのは昼近く。
<104> Ever since I started high school, I was late just about every day.
// 高校に入ってからの俺は、毎日のように遅刻だった。
<105> That sort of life has continued for three years.
// そんな生活を続けて三年近くになる。
<106> As usual, I just put on my uniform, and rush out of the house before my father had a chance to return.
// 今日も制服だけ着替えて、親父が帰ってくる前に折り返し家を出る。
<107> Such was my health depriving routine.
// それが体に染みついた日常だった。
<108> I wander about the town during night.
// 夜の町をうろつく。
<109> My final destination is always the same.
// 最後に行き着く場所はいつも同じだ。
<110> I head for a bento vendor, and then buy a bento for my dinner.[2]
// 行きがけにある弁当屋で、夕飯となる弁当を買い求めた後…
<111> With that in my hand, I head for the student dormitories by the foot of the hill on which my school was located.
// それを手に、学校の坂下に建つ学生寮へ。
<112> Our school particularly stresses on club activities, thus we get many students from the area.
// うちの学校は特に部活動に力を入れているため、地方から入学してくる生徒も多い。
<113> These students leave their parents and home. Instead, they spend three years here.
// そんな生徒たちは親元を離れて、ここで三年間を過ごすことになるのだ。
<114> Totally unlike me; unlike I who have no goals for my student career.
// 俺のような学生生活に夢も持たない人間とはまったく違う人種。
<115> I am not concerned with meeting any of these people, but that guy… Sunohara resides here.
// 関わり合いになることもなかったが、こんな場所にあいつ…春原は住んでいるのだ。
<116> Sunohara was originally from the soccer team; he was one who was recommended this school for its sports.
// 春原は元サッカー部で、この学校にも、スポーツ推薦で入学してきた人間だ。
<117> But during his first year, he got into a large fight with students from another school and was suspended. And he stopped being a regular member.
// しかし一年生の時に他校の生徒と大喧嘩をやらかし停学処分を受け、レギュラーから外された。
<118> After the recruitment for new members ended the next year, he no longer had any place in the club.
// そして新人戦が終わる頃には、あいつの居場所は部にはなかった。
<119> He could only quit.
// 退部するしかなかったのだ。
<120> After that, he did not have the money to change lodgings, he thus continued living at the dorms for members of sports teams.
// その後も別の下宿に移り住む金銭的余裕もなく、この体育会系の学生が集まる学生寮に身を置き続けているのだ。
<121> \{Voice}“How many times do I have to repeat myself to make you understand, huh?”
// \{声}「何度言えばわかるんだよっ」
<122> \{Sunohara}“But it’s already all totally soft.”
// \{春原}「でも、すげぇ小さい音だったっての」
<123> Sunohara’s there.
// 春原がいた。
<124> He was talking to a gargantuan male with an awkward build outside someone else’s room.
// 別の部屋の前で、やたら図体のでかい男子生徒と話をしていた。
<125> \{Young Man}“Even if it’s all totally soft, the thin walls will leak sound!”
// \{男子}「すげぇ小さい音でも、壁が薄いから響くんだよっ！」
<126> \{Young Man}“Use the damn headphones!”
// \{男子}「ヘッドホンで聴けよっ」
<127> \{Sunohara}“I don’t hav’ such high–grade equipment, haha.”
// \{春原}「んな高級なもんねぇって、ははっ」
<128> \{Young Man}“Then don’t listen at all!”
// \{男子}「じゃあ、聴くなっ」
<129> \{Sunohara}“Nay, if I don’t listen I won’t feel in the mood, huh.”
// \{春原}「いや、でも、あれ聴かないと、調子出ないんだよね」
<130> \{Sunohara}“Furthermore, it’s a splendid, cool song huh?”
// \{春原}「それに、結構、イカす音楽だと思うんだよね」
<131> \{Young Man}“……….”
// \{男子}「………」
<132> \{Sunohara}“Why don’t you try listening to the lyrics this time huh? They’re great.”
// \{春原}「今度、歌詞とかちゃんと聴いてみてよ、イカしてるから」
<133> \{Young Man}“There’s nothing remotely cool about it….”
// \{男子}「イカしてるも何もねぇ…」
<134> \{Young Man}“You’re making me seriously PISSED!”
// \{男子}「こっちは、むかついてんだよぉっっ！」
<135> \{Young Man}“The next time I hear that, I’ll kick you out!”
// \{男子}「次聞こえてきたら、叩き出すぞっ！」
<136> Batan’[J]!\shake{4} *Bam
// バタンッ！\shake{4}
<137> \{Sunohara}“Hii!”
// \{春原}「ひぃっ！」
<138> \{Sunohara}“……….”
// \{春原}「………」
<139> In front of the shut door, Sunohara stood with his head looking down.
// 閉ざされたドアの前で、うなだれる春原。
<140> \{Sunohara}“Damn…fucking rugby bastard….”
// \{春原}「くそぅ…ラグビー部め…」
<141> He mumbled softly.
// そう小さく呟いた。
<142> \{\m{B}}“With that voice, they wouldn’t be able to hear, y’know.”
// \{\m{B}}「んな声じゃ、聞こえないだろ」
<143> \{\m{B}}“\size{30}DAMN! FUCKING RUGBY BASTARRD–’! \size{}”
// \{\m{B}}「\size{30}くそぅ！ラグビー部めえぇぇぇーっ！\size{}」
<144> Standing behind him, I shout out his comment.
// その背後に立ち、大きな声で言い直してやる。
<145> \{Sunohara}“Hiii’!”
// \{春原}「ひぃぃっ！」
<146> He engaged me in a headlock and dragged me into his room.
// 春原は俺の頭を抱えると、自分の部屋へと引きずり込む。
<147> Down the corridor, an angry reply came: ‘WHO WAS THAT JUST NOW?!’
// 廊下では、『今の誰だぁっ！』と怒声が響いていた。
<148> \{Sunohara}“Haa…haa….”
// \{春原}「はぁ…はぁ…」
<149> \{Sunohara}“Were you trying to get me killed’?!”
// \{春原}「僕を殺す気かっ！」
<150> \{\m{B}}“Wasn’t it you who first said that?”
// \{\m{B}}「おまえが言ったんじゃないかよ」
<151> \{Sunohara}“Ahem, excuse me, \m{A}….”
// \{春原}「あのさ、\m{A}…」
<152> \{Sunohara}“Even at the best of times, I don’t get along well with the guys over here, you know ….”
// \{春原}「ただでさえ、ここのところ、連中との関係が穏やかじゃなくなってるんだからさ…」
<153> \{\m{B}}“Show them who’s the boss man.”
// \{\m{B}}「派手に散ろうぜ」
<154> \{Sunohara}“I have one more year left, you know that?!”
// \{春原}「後、一年残ってるよっ！」
<155> \{\m{B}}“And so you intend to live in fear.”
// \{\m{B}}「おまえ、そうやって、ビクビク暮らしてくのな」
<156> \{Sunohara}“Hey….”
// \{春原}「あのね…」
<157> \{Sunohara}“I couldn’t even take them on one–to–one. For one, the opponents are all rugby guys, yea?”
// \{春原}「僕だって、一対一なら引くことはないさ。たとえ、相手がラグビー部だとしてもね」
<158> \{Sunohara}“Even though the rooms surrounding mine all belong to the rugby team….”
// \{春原}「けど、周りは全部ラグビー部の部屋…」
<159> \{Sunohara}“If I cause any, like, trouble over here… things won’t be pretty for me, like….”
// \{春原}「こんな場所で事を起こした日にゃ…分が悪すぎるよ…」
<160> \{Sunohara}“But, well, if it’s just before graduation, it might not be half bad huh.”
// \{春原}「でも、まぁ、卒業間際になったら、派手にやるのもいいね」
<161> \{Sunohara}“When the time comes, \m{A}, you’ve got my back, man.”
// \{春原}「そん時は、\m{A}、僕の背中はおまえに任せるぜっ」
<162> \{\m{B}}“Good! I’ll tag along!”
// \{\m{B}}「ラッキー、ザックリいくな」
<163> \{Sunohara}“DAMN, don’t come! Get away!”
// \{春原}「くるなよっ！いけよっ！」
<164> \{\m{B}}“But I’m on the rugby team’s team, y’see?”
// \{\m{B}}「だって、俺、ラグビー部側だぜ？」
<165> \{Sunohara}“Since when?!”
// \{春原}「いつからだよっ！」
<166> \{\m{B}}“Nope, only when the time comes.”
// \{\m{B}}「いや、そん時だけ」
<167> \{Sunohara}“Okay? Why!?”
// \{春原}「はい！？なんでよっ！？」
<168> \{Sunohara}“What on earth was the past two years we’ve been comrades for?! Eeh’!?”
// \{春原}「共に過ごしてきた僕らの二年間は一体何よっ！ええっ！？」
<169> \size{30}Doon’!\size{}\shake{4} *Boom
// \size{30}どぉんっ！\size{}\shake{4}
<170> The wall shook.
// 壁が揺れた。
<171> Following that, an angry shout was heard: ‘Shut the HELL UP’!’
// 続けざま、『静かにしろぉっ！』と怒鳴り声。
<172> \{Sunohara}“Hii’.”
// \{春原}「ひぃっ」
<173> \{\m{B}}“Kick him back!”
// \{\m{B}}「蹴り返してやろう」
<174> \{Sunohara}“Stop IT’!”
// \{春原}「やめてくれぇっ！」
<175> \{Sunohara}“}“You look really tense, y’know.”
// \{\m{B}}「おまえ、超ビビリな」
<176> \{Sunohara}“You; …look from my perspective here….”
// \{春原}「おまえな…僕の立場に立ってみろよ…」
<177> He’s crying….
// 泣いている…。
<178> \{Sunohara}“I’m begging you, please, really, just please don’t be rowdy.”
// \{春原}「頼むから、ここでは大人しくしててくれ」
<179> \{\m{B}}“Ah, oh….”
// \{\m{B}}「あ、ああ…」
<180> I was taken aback at the intensity of his misery.
// その迫力ある惨めさに気圧されてしまう。
<181> Mogumogu[J]…. *munch munch
// もぐもぐ…
<182> I relaxed myself in the confined space between the ancient kotasu and the wall, and started eating my bento.[3]
// 俺は壁と万年コタツに挟まれた狭い空間に腰を落ち着けて、弁当を食べ始めていた。
<183> \{\m{B}}“Excuse me, tea please.”
// \{\m{B}}「悪い、お茶」
<184> \{Sunohara}“Ain’t got NONE’!”
// \{春原}「出ねーよっ！」
<185> \{\m{B}}“That’s why I said “Excuse me” and “please”, didn’t I?”
// \{\m{B}}「だから悪いって、言ってるじゃん」
<186> \{Sunohara}“Use your brains, I haven’t any tea’!”
// \{春原}「頭下げようが、出ねぇよっ」
<187> \{Sunohara}“Have you mistaken this for a cafeteria or something?”
// \{春原}「おまえ、ここが食堂かなんかと勘違いしてない？」
<188> \{\m{B}}“This is your room. I can tell at least that much.”
// \{\m{B}}「おまえの部屋だろ。わかってるよ」
<189> \{Sunohara}“Yes.”
// \{春原}「ああ」
<190> \{\m{B}}“And that makes you the maid.”
// \{\m{B}}「そして、おまえは、小間使いだ」
<191> \{Sunohara}“You so totally do not get it.”
// \{春原}「ぜんぜんわかってないっすね」
<192> \{\m{B}}“Thanks for the favour then, I forgot to buy some.”
// \{\m{B}}「頼むよ、買い忘れてきたんだよ」
<193> \{Sunohara}“And it hasn't occurred to you that you could just get out to buy some yourself….”
// \{春原}「自分で行くという発想は、浮かばないのかよ…」
<194> \{\m{B}}“But by doing so you are, like say, helping in my life, and as helping me is your duty, there’s no better logic, not?”
// \{\m{B}}「だって、おまえ、俺に命を助けられてからというもの、俺の役に立ちたくて、仕方がなかったんだろ？」
<195> \{Sunohara}“You can never convince me to believe that nonsense.”
// \{春原}「そんな裏設定は隠されていませんっ」
<196> \{\m{B}}“It’s like what you said after you saved me.”
// \{\m{B}}「俺が助けた後、おまえ、言ったじゃん」
<197> \{\m{B}}“During the time, when this person called Sunohara died….”
// \{\m{B}}「春原という男は、あの時死にました…」
<198> \{\m{B}}“What remains now, as a memory of my service to you, is a cup of bitter tea…was what he had said.”
// \{\m{B}}「今ここにいるのは、あなたにお仕えする、ただのお茶くみなのです…てさ」
<199> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<200> \{Sunohara}“Don’t spin grandiose lies!”
// \{春原}「壮大な嘘つくなっ」
<201> \{\m{B}}“Just your last cup will do.”
// \{\m{B}}「じゃあ、最後のお茶でいいから」
<202> \{Sunohara}“There’s no first cup, and never a last!”
// \{春原}「最初も最後もねぇよっ」
<203> \{\m{B}}“No, I’m very touched; you used up all your strength for my request.”
// \{\m{B}}「いや、感動的だぜ。これ聞いたら、おまえは、絶対入れたくなるな」
<204> \{\m{B}}“You suffered a major injury, just to help me.”
// \{\m{B}}「大怪我を負ったおまえは、もう助かりそうもなかった」
<205> \{\m{B}}“And that very you abided my command to collect this tea just for the sake of the thirsting me.”
// \{\m{B}}「そのおまえに、のどが渇いた俺は、お茶くみを命ずる」
<206> \{\m{B}}“Thereupon, you summoned you very last, and, crawling on your knees, poured the tea into the cup.”
// \{\m{B}}「すると、おまえは最後の力を振り絞り、這いつくばりながらも、お茶を入れにいくんだ」
<207> \{\m{B}}“And then….”
// \{\m{B}}「そして…」
<208> \{\m{B}}“\m{A}–sama…here is your tea.”
// \{\m{B}}「\m{A}様…お茶でございます…」
<209> \{\m{B}}“And then, this will be…the last…cup of tea I am making….”
// \{\m{B}}「そして、これが…最後の…お茶となります…」
<210> \{\m{B}}“And when you died, your face was smiling with contentment.”
// \{\m{B}}「死に顔は、笑顔なんだ」
<211> \{Sunohara}“You truly like messing around with me, don’t you!”
// \{春原}「僕、ムチャクチャ本望そうっすね！」
<212> \{\m{B}}“But wasn’t that your wish?”
// \{\m{B}}「それが、おまえの望みなんだって」
<213> \{\m{B}}“And then, I was weeping, as I drank your last cup of tea.”
// \{\m{B}}「そして、俺は泣きながらに、その最後のお茶を飲む」
<214> \{\m{B}}“Ah, it was really very moving.”
// \{\m{B}}「な、感動的だろ」
<215> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<216> \{Sunohara}“Told’ya I haven’t got ANY.”
// \{春原}「出ねぇってのっ」
<217> After that, I and read through one of his magazines.
// それからは、雑誌を読んで、過ごす。
<218> As there was no television, other than chatting and going through magazines, there was no other way of passing time.
// テレビがなかったから、話をするか、本を読む以外に、時間を潰す方法はなかった。
<219> \{Sunohara}“Huaah….”
// \{春原}「ふわ…」
<220> \{Sunohara}“It’s about time. Aren’t you going to sleep?”
// \{春原}「そろそろ、寝ない？」
<221> It was already late; the day was over, and it was late at night.
// すでに日付は変わり、深夜となっていた。
<222> \{\m{B}}“Yes…you’re right.”
// \{\m{B}}「ああ…そうだな」
<223> I didn’t want to sleep in Sunohara’s room.
// 俺は春原の部屋に泊まることだけはしなかった。
<224> The mere thought of waking up beside such a person in the morning was already depressing.
// こんな奴と共に朝を迎えるなんて、想像しただけでも憂鬱になる。
<225> \{Sunohara}“I’m going to take a shower then.”
// \{春原}「じゃ、僕、シャワー浴びてくっから」
<226> \{\m{B}}“Ya.”
// \{\m{B}}「ああ」
<227> From within the pile of clothes by a corner of the room, Sunohara fished out a pair of undergarments and a towel, and proceeded out of the room.
// 部屋の隅で山となっている衣類の中から、下着とタオルを引っ張り出すと、春原は部屋を出ていく。
<228> \{\m{B}}“……….”
// \{\m{B}}「………」
<229> I would really want to avoid facing Sunohara when her returns after his shower.
// シャワーから戻ってきた春原を迎える、という状況もできたら避けたい。
<230> I should be going home just about now.
// 今のうちに帰ることにしよう。
<231> I closed the magazine, and got up.
// 雑誌を閉じて、体を起こす。
<232> Thereupon, I chanced on a radio–cassette player in front of me.
// すると、すぐ正面、一台のラジカセと向き合わせになる。
<233> There was a cassette inserted inside.
// 中にはテープが入ったままになっていた。
<234> I played it.
// 再生してみる。
<235> When the tape started rolling, a hip–hop song that used to be popular long ago could be heard.
// 流れてきたのは、一昔前に流行った、歌謡ヒップホップ。
<236> \m{B} (The hell…)
// \{\m{B}}（ダッサ…）
<237> \m{B} (I’m not listening to this…)
// \{\m{B}}（こんなの聴かねぇだろ…）
<238> Rap over the cassette
// 上書きで何か吹き込む
<239> Give it a pass
// やめておく
<240> K’; I guess I’m going to rap an original instead.
// よし、代わりに俺のオリジナルラップを吹き込んでやろう。
<241> The title is, ‘From me to my best friend, Sunohara, rap’.
// テーマは『俺から、親友春原に捧ぐラップ』だ。
<242> The thought of him choking with emotion came into my mind.
// あいつの感動にむせぶ姿が目に浮かぶ。
<243> \m{B} (Here I go…)
// \{\m{B}}（いくぞ…）
<244> With a deep breath, I pushed the record button.
// 息を大きく吸い込み、録音ボタンを押す。
<245> \{\m{B}}“… YO! YO! Here’s \m{A}! You’re,”
// \{\m{B}}「…YO! YO! オレ\m{A}！オマエはっ」
<246> As the tune went on, I spun out my words.
// テンポよく、言葉を紡ぎ出す。
<247> \{\m{B}}“You’re….”[4]
// \{\m{B}}「オマエは…」
<248> But… I couldn’t think of any words after that.
// が…その先が何も浮かんでこない。
<249> Stop. I sound like an idiot…
// やめた。アホらし…
<250> Say anything relevant that comes to mind.
// 適当に思いついた言葉を発する
<251> \{\m{B}}“A Mongolian chop!”
// \{\m{B}}「モンゴリアンチョップ！」
<252> \{\m{B}}“No, you’ll get a Mongolian Chop”
// \{\m{B}}「いや、オマエに、モンゴリアンチョップ」
<253> \{\m{B}}“Wait, it doesn't make any sense no matter how I say it….”
// \{\m{B}}「って、どちらにしても意味不明だな…」
<254> \{\m{B}}“Evolved above shore into the WuperRuper!”
// \{\m{B}}「陸に上がって進化を遂げたウーパールーパー！」
<255> \{\m{B}}“Hmm…? I said it as a joke, but it somehow turned out sounding serious….”
// \{\m{B}}「あれ…？冗談で言ったのに、なんだかマジでそう思えてきたぞ…」
<256> \{\m{B}}“……….”
// \{\m{B}}「………」
<257> \{\m{B}}“You’re…WuperRuper?”
// \{\m{B}}「おまえ…ウーパールーパー？」
<258> \{\m{B}}“Made–In–China!”
// \{\m{B}}「メイド・イン・チャイナ！」
<259> \{\m{B}}“Mass produced by China.”
// \{\m{B}}「中国で大量生産されてんだ」
<260> \{\m{B}}“With innards!”
// \{\m{B}}「って、キモッ！」
<261> \{\m{B}}“Cock–a–doodle–doo–!”
// \{\m{B}}「クックドゥードゥルドゥー！」
<262> \{\m{B}}“Uwah, I have no idea what I am talking about ~! Hahahaha!”
// \{\m{B}}「うわ、俺ひとりで何言ってんだろ、わっけわかんね～！はははは！」
<263> \{\m{B}}“Aotenagahukurooosunoharamodoki!”
// \{\m{B}}「アオテナガフクロオオスノハラモドキ！」
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”[5]
// \{\m{B}}「青くて手が長くて袋を持ってて大きい春原のモドキなんだ」
<265> \{\m{B}}“Wait, imitation clay figure isn’t as frightening as original!/p Hey, what if I meddled with it?””
// \{\m{B}}「って、モドキじゃないオリジナルで十分怖ぇよっ！\pってツッコミたくならんか？」
<266> \{\m{B}}“Have a topknot hairstyle!”[6]
// \{\m{B}}「ちょんまげ！」
<267> \{\m{B}}“Nay, Sunohara doesn’t have a topknot hairstyle….”
// \{\m{B}}「いや、ちょんまげじゃねぇし…」
<268> \{\m{B}}“Then this rap would be one huge lie….”
// \{\m{B}}「じゃ、このラップ嘘になるじゃん…」
<269> \{\m{B}}“Sunohara, my bad, go get a topknot hairstyle.”
// \{\m{B}}「春原、わりぃ、ちょんまげにしてくれ」
<270> \{\m{B}}“Hpfuu’….”
// \{\m{B}}「ぷっ…」
<271> \{\m{B}}“Crap, I laughed before I could say the words.”
// \{\m{B}}「やべ、言う前に自分で笑っちまった」
<272> \m{B} (… forget it. I sound like an idiot…)
// \{\m{B}}（…やめた。アホらし…）
<273> \{\m{B}}“… forget it. I sound like an idiot….”
// \{\m{B}}「…やめた。アホらし…」
<274> I hit it in frustration.
// 速攻で挫折する。
<275> What’s my problem, doing such stuff for his sake?
// どうして、あいつのためにこんなことをしてやらなくちゃいけないんだ。
<276> In the first place, you couldn’t call our relationship close.
// そもそも、親友なんて呼べるほどの間柄でもないじゃないか。
<277> \m{B} (Gotta hurry home…)
// \{\m{B}}（とっとと、帰ろう…）
<278> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
<279> For once, I left his room as is, even though the day did ended without me completing anything….
// かつて、俺をひとり部屋に放置して、何事もなく終わったことはないのだが…
<280> I’ll spare him for today, huh.
// 今日のところは許しておいてやるか。
<281> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
</pre>
</div>

=== Notes ===
[1]
<43> \{Girl}“Do you like this school?”
*can also be translated as: \{Girl}“Do I like this school?”.

[2]
<110> I head for a bento[J] vendor, and then buy a bento for my dinner.
*A bento is a Japanese box filled with food.

[3]
<182> I relaxed myself in the confined space between the ancient kotasu[J] and the wall, and started eating my bento.
*A kotasu is a table with a heater underneath.

[4]
<247> \{\m{B}}“You’re…”
*Is translated as \{\m{B}}“You…” in several versions of the next line in the rap.

[5]
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”
*Blue hands held a long bag, with an imitation Sunohara clay figure.

[6]
<266> \{\m{B}}“Have a topknot hairstyle!”
*Is a hairstyle popular in ancient Japan; http://en.wikipedia.org/wiki/Chonmage

== Alternative translation ==
I wish to post my translation to be used as additional materials to edit with, but it's in the wrong format (and thus cannot be used as a preview), and I do not know where to post it.[[User:Jc100|Jc100]] 04:38, 6 February 2007 (PST)

I suggest using this page and use the clannadbox div tags:
<pre><div class="clannadbox">
<pre>
insert text here
</pre>
</div></pre>

-- [[User:Velocity7|velocity7]], 7:56 AM EST February 6, 2006

Actually, I meant that my translation was not in the SEEN format, I extracted it out for ease. I'll post mine for comparison though.[[User:Jc100|Jc100]] 19:15, 9 February 2007 (PST)

Since V7 didn't give me any specific instructions, I would be taking some liberal liberties with the editing of the text here, especially with tenses.

Forgive me if I make some errors here and there as I can't read Japanese, and am fairly new to this editing business. Please bring to light anything that is really supposed "to be like that".

p.s@velocity7: Bicube sends you a punch.

--[[User:Umiman|umiman]] 18:36, 12 February 2007 (PST)

Can someone look over lines 0088 - 0092.

It doesn't really seem to make sense how his father was depressed before the accident, and depressed again after the accident.

Also, there are issues with lines 0114 - 0115.

--[[User:Umiman|umiman]] 19:06, 13 February 2007 (PST)

This was the original translation I made, does this sounds better?
******
Line 0114: They are totally different from me who has no dream at all.
Line 0115: I couldn't care less though, and also in this place... lives Sunohara.

******
About 0088 - 0092: Tomoya's father was depressed when he lost his wife, and made him waste his time by drinking alcohol and gambling. But one day, Tomoya and his father had a fight that end up injuring Tomoya, after that, his father locked up his feelings (maybe pretend to lock his feelings) towards Tomoya and started calling his name with a -kun attached to it.--[[User:DGreater1|DGreater1]] 19:37, 16 February 2007 (Phillipine time)

:@Uniman. See if the way my translation phrases it better. Feel free to 'assimilate' some of my lines to the main text file, or use your own if you have a new perspective on hhow to phrase them. But make sure to change the ellipse characters into sets of three periods, and the open and close quotation marks into just plain quotation marks as per the guidelines.

:--[[User:Jc100|Jc100]] 23:13, 18 February 2007 (PST)

******
Sorry for the long delay in reading this. Sick for quite awhile and had a lot of projects to do:

Line 0114: Reworked the sentence to fit.

Line 0115: I suggest using JC100's translation for this. I also suggest using Jc's translation for lines 0088 to 0092 as well.

From what I can see, DGreater1 and JC100 have quite contrasting translation styles. DGreater seems to focus more on faithfulness to the original text while JC100 is more keen on making it sound nice in English.

I might be wrong though, but I'll suggest the times when it might be better to switch between the two.

p.s: This is mostly a rough go-through. It's hard reading two translations at once, so please bear with me :).

--[[User:Umiman|umiman]] 22:29, 4 March 2007 (PST)
=== SEEN0414 and SEEN0415 Line Consistency ===
<pre>
****************************************
SEEN0414 Original
****************************************
<0047> Probably wondering what her boyfriend (or girlfriend) would say.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<0048> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0049> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0050> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0051> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0052> With great difficulty, she continues to speak.
****************************************
SEEN0415 Original
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really really like this school." // same with line 0048 from SEEN0414
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, there might be nothing here that will never change." // same with line 0049 from SEEN0414
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Enjoyable things and happy things, all of them." // same with line 0050 from SEEN0414
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "All of them will change."
// \{女の子} 「ぜんぶ、変わらずにはいられないです…」// same with line 0051 from SEEN0414
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
****************************************
SEEN0415 With the lines from SEEN0414
****************************************
<0456> I heard this line before. But this time, she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
// 最後の言葉は俺が言っていた。
</pre>

What I mean is, is line 459-463 enough to make Tomoya think about ''"And then, you'll end up not liking this place anymore?"?''
Line 49-52 in SEEN0414 seems to be missing some context which makes Tomoya's line '''"And then, you'll end up not liking this place anymore?"''' quite confusing if you put it in SEEN0415 Line 459-463.

I'll try to put type it in like a book novel to make more sense...

<br>'''First Group'''<br>
She said, "I really, really do... But nothing... can remain the same."<br>
"Even fun things and happy things... Nothing stays that way forever."<br>
"And then, you'll end up not liking this place anymore?" Tomoya blurted... <br>
"That's right." she replied.
<br>
<br>'''Second Group'''<br>
She said, "I really really like this school... But, there might be nothing here that will never change."<br>
"Enjoyable things and happy things, all of them... All of them will change."<br>
"And then, you'll end up not liking this place anymore?" Tomoya blurted... <br>
"That's right." she replied.<br>

You see the difference with the lines? The first group of sentence is emphasizing that nothing stays the same forever, while the second group is emphasizing that there might be nothing there that will ever change. The lost of context makes the first group sound like Tomoya just blurted out the sentence '''"And then, you'll end up not liking this place anymore?"''' without reason. ''Nothing stays that way forever'' and Tomoya's line doesn't seem to connect properly too. Compared to ''"All of them will change, and then you'll end up not liking this place anymore."''

Talk:Clannad:SEEN0414

2007-04-22T06:28:19Z

Dgreater1: M

== Alt. Translation Post ==

<div class="clannadbox">
<pre>
// Resources for SEEN0414.TXT

#character '＊Ｂ'
//#character '＊Ｂ'
#character 'Voice'
//#character '声'
#character 'Girl'
//#character '女の子'
#character 'Teacher'
//#character '教師'
#character 'Sunohara'
//#character '春原'
#character 'Young Man'
//#character '男子'

<0> I hate this town.
// この町は嫌いだ。
<1> It’s because there are places stained with memories that I wish to forget.
// 忘れたい思い出が染みついた場所だから。
<2> Going to school every day, attending lessons every day, chatting with friends every day, and then returning to the house that I do not wish to return, every day.
// 毎日学校に通い、授業を受け、友達とだべり、そして帰りたくもない家に帰る。
<3> Nothing new, or the like, ever occurs.
// 何も新しいことなど始まらない。
<4> \m{B} (With this routine carrying on, I wonder if anything has actually changed….)
// \{\m{B}}（こうしていて、何かが変わるんだろうか…）
<5> \m{B} (When will my life ever change…?)
// \{\m{B}}（俺の生活は、いつか変わるんだろうか….）
<6> A town separated all over by rampant greenery.
// やたらと自然が多い町。
<7> Having to detour around mountains to attend school.
// 山を迂回しての登校。
<8> If only I could cut through all the mountains, how much easier it would probably have been.
// すべての山を切り開けば、どれだけ楽に登校できるだろうか。
<9> If I walked in a straight line, I would then be able to shave off about 20 minutes.
// 直線距離を取れば、２０分ぐらいは短縮できそうだった。
<10> \m{B} (One day, 20 minutes….)
// \{\m{B}}（一日、２０分…）
<11> \m{B} (And thus, in a year, roughly how much time will I be able to gain?)
// \{\m{B}}（すると、一年でどれぐらい、俺は時間を得することになるんだ….）
<12> I do the mathematics while walking.
// 計算しながら、歩く。
<13> \m{B} (Aah, hell, I have totally no idea….)
// \{\m{B}}（ああ、よくわかんねぇ…）
<14> I see nobody nearby who appears to be a schoolmate.
// 辺りに同校の生徒の姿はない。
<15> As this is the main street that leads to school, it should essentially be flourishing with pupils.
// 学校に続く大通りだから、本来、生徒で賑わっているはずだった。
<16> Today is not a holiday or anything.
// 今日が、休日というわけでもない。
<17> In other words…this is not the time when a student ought to attend school; and thus is the situation now.
// つまりは…生徒が登校すべき時間ではない、ということ。
<18> But, despite appearing to have a cannot–be–bothered attitude from a spectator’s perspective, I did not hurry, and continued with my easygoing pace.
// けど、そんな閑散とした光景を目の当たりにしても俺は焦ることなく、悠長に歩き続けた。
<19> ……….
// ………。
<20> 200 meters left to the school gate.
// 校門まで残り２００メートル。
<21> I stop for a moment, out of breath.
// 一度立ち尽くす。
<22> \{\m{B}}“Haa.”
// \{\m{B}}「はぁ」
<23> And sigh, simultaneously looking towards the sky.
// ため息と共に空を仰ぐ。
<24> The destination was the school gate.
// その先に校門はあった。
<25> Whose choice has it been, to lay the gate at such a place?
// 誰が好んで、あんな場所に校門を据えたのか。
<26> The long sloping path extended high up, like those in nightmarish dreams.
// 長い坂道が、悪夢のように延びていた。
<27> \{Voice}“Haa.”
// \{声}「はぁ」
<28> An other, different sigh. Smaller and shorter than mine.
// 別のため息。俺のよりかは小さく、短かかった。
<29> I looked beside me.
// 隣を見てみる。
<30> There, standing exhausted like I, was a female student.
// そこに同じように立ち尽くす女生徒がいた。
<31> From the colour of her school badge, I could tell she was another third–year student.
// 校章の色から、同じ三年生だとわかる。
<32> However, her face is not familiar.
// けど、見慣れない顔だった。
<33> Her short hair that ended by her shoulders flutters in the wind.
// 短い髪が、肩のすぐ上で風にそよいでいる。
<34> Female child “……….”
// \{女の子}「………」
<35> A face that appeared to be on the verge of tears.
// 今にも泣きだしそうな顔だった。
<36> I was somewhat of a habitual latecomer and thus have no qualms about coming late today, but with a diligent girl like her…
// 俺なんかは常習犯だったからなんとも思わないが、真面目な奴なのだろう…
<37> Going into class now by herself must be somewhat tough.
// この時間にひとり教室に入っていくことに抵抗があるのだ。
<38> \{Girl}“Yes, yes….”
// \{女の子}「うんうん…」
<39> She appeared to be whispering something to herself, with her eyes closed, and nodding from moment to moment.
// 何かを自分に言い聞かせるように、目を瞑って、こくこくと頷いている。
<40> Female Child “……….”
// \{女の子}「………」
<41> And then, she opened her eyes.
// そして少女は目を見開く。
<42> Ji–tto[J], fixed her eyes on the school gate, high above.
// じっと、高みにある校門を見つめた。
<43> \{Girl}“Do you like this school?”[1]
// \{女の子}「この学校は、好きですか」
<44> \{\m{B}}“Eh…?”
// \{\m{B}}「え…？」
<45> No, she was not asking me.
// いや、俺に訊いているのではなかった。
<46> The question was posed for a person existing in her imagination.
// 妄想の中の誰かに問いかけているのだ。
<47> I do wonder how that guy (or possibly female) may answer.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<48> \{Girl}“I like this school very, very much.”
// \{女の子}「わたしはとってもとっても好きです」
<49> \{Girl}“But, just about everything… I am unable to change along with.”
// \{女の子}「でも、なにもかも…変わらずにはいられないです」
<50> \{Girl}“Like those that are fun, like those that fill with joy, all of them.”
// \{女の子}「楽しいこととか、うれしいこととか、ぜんぶ」
<51> \{Girl}“All of them, I am unable to change along with.”
// \{女の子}「ぜんぶ、変わらずにはいられないです」
<52> With apparent difficulty, her conversation continued.
// たどたどしく話し続ける。
<53> \{Girl}“Even then, do I still like this place?”
// \{女の子}「それでも、この場所が好きでいられますか」
<54> ……….
// ………。
<55> \{Girl}“I….”
// \{女の子}「わたしは…」
<56> \{\m{B}}“Why don’t you try looking for them?”
// \{\m{B}}「見つければいいだけだろ」
<57> \{Girl}“Eh’…?”
// \{女の子}「えっ…？」
<58> Surprised, the girl looked towards my face.
// 少女が驚いて、俺の顔を見る。
<59> It seemed as though she had completely believed that there had not been anybody around.
// まるで、今まで誰もいないと信じていたかのようにだ。
<60> \{\m{B}}“Looking for other fun and happy things will solve the problem, won’t it?”
// \{\m{B}}「次の楽しいこととか、うれしいことを見つければいいだけだろ」
<61> \{\m{B}}“Do you have only one fun and happy activity? That’s not so, right?”
// \{\m{B}}「あんたの楽しいことや、うれしいことはひとつだけなのか？違うだろ」
<62> \{Girl}“……….”
// \{女の子}「………」
<63> Yes.
// そう。
<64> Times when we were pure and did not know anything.
// 何も知らなかった無垢な頃。
<65> Everybody has had a time like that.
// 誰にでもある。
<66> \{\m{B}}“Come on, let’s go.”
// \{\m{B}}「ほら、いこうぜ」
<67> April 14th (Monday)
// ４月１４日(月)
<68> \{Teacher}“Sunohara[J].”
// \{教師}「春原（すのはら）」
<69> The teacher called out the name of a student.
// 教師があるひとりの生徒の名を口にした。
<70> \{Teacher}“Absent, as usual.”
// \{教師}「相変わらずいないのか」
<71> I looked beside. Over there was Sunohara’s seat.
// 隣を見る。そこが春原の席だった。
<72> His attendance was worse than mine.
// こいつの遅刻率は俺より高い。
<73> Together, we are the only ones labelled as delinquents in the class.
// ふたり合わせてクラスの不良生徒として名指しされることが多かった。
<74> Maybe it’s because of that that we get along well.
// だからだろう、よく気が合う。
<75> Thus, among the class’s students, we can only chat with each other casually.
// そして、クラスの中で、唯一俺が心を許して話すことのできる人間だった。
<76> The lesson starts.
// 授業が始まる。
<77> I looked out of the window.
// 俺は窓の外を見て過ごした。
<78> The teacher’s words never made it past my ear.
// 教師の声はすべて聞き流して。
<79> A day’s worth of lessons has ended; it is now after class.
// 一日の授業を終え、放課後に。
<80> Even till the last moment, that Sunohara never came.
// 春原の奴は最後までこなかった。
<81> In the end, the only person whom I talked with today was that girl from this morning.
// 結局、今日俺が話をしたのは、朝に出会った女生徒だけだった。
<82> An everyday that truly never changes for the better.
// 実に代わり映えしない毎日。
<83> As I had not joined any club, I grabbed my empty bag and left the classroom; avoiding the jabbering students.
// 部活にも入っていない俺は、空っぽの鞄を掴むと、だべる生徒の合間を抜けて、教室を後にした。
<84> Even if I headed for home, there will not be anyone at this time of day.
// 家に帰っても、この時間は誰もいない。
<85> To start with, I did not have a mother anymore.
// もとより母親はいなかった。
<86> She died in a traffic accident when I was young; I don’t even remember her face.
// 俺が小さい頃に、交通事故で亡くなったそうだ。顔すら覚えていなかった。
<87> Maybe it was because of the shock of losing my mother… left behind, my father rotted away.
// 母を亡くしたショックでだろうか…残された父は堕落していった。
<88> He drank without end; he ruined his life by spending his free time of gambling.
// アルコールを絶やすことなく飲み続け、賭け事で暇を潰す生活。
<89> My youth was spent arguing with my father to fill the emptiness in our hearts.
// 少年時代の俺の暮らしは、そんな父との言い争いにより埋め尽くされた。
<90> But because of an incident, our relationship changed.
// けど、ある事件をきっかけにその関係も変わってしまった。
<91> He exhibited violence; I suffered an injury.
// 俺に暴力を振るい、怪我を負わせたのだ。
<92> Ever since that day, my father did not show any emotion.
// その日以来、父親は感情を表に出さないようになった。
<93> Furthermore, he never calls me by name; addressing me as ‘\m{B}–kun’, like an unrelated person.
// そして、俺の名を昔のように呼び捨てではなく、『\m{B}くん』とくん付けで呼び、言動に他人行儀を感じさせるようになった。
<94> As expected, I was in the process of joining the ranks of an outsider.
// それはまさしく、他人同士になっていく過程だった。
<95> It was as though a shell had shut us off to each other entirely, so to speak.
// まるで殻に閉じこもっていくように。
<96> It was as though we had wanted to sever all connections of the past from the present.
// 今と過去との接点を断ち切るように。
<97> It was a relief that we had rejected each other.
// 突き放すならまだ、よかったのに。
<98> Even though I was wounded, I was saved from the constant arguing.
// 傷つけてくれるなら、まだ救われたのに。
<99> In spite of that, when he notices that I had arrived home, he rejoices as though I am a visiting old friend…and proceeds to gossip.
// なのに父は学校から帰ってきた俺の姿を見つけると、まるで旧友が訪れたように喜んで…そして世間話を始めるのだ。
<100> My chest fills with hurt; I do not wanted to recollect.
// 胸が痛くなって、居たたまれなくなって…
<101> I ran out of the house.
// 俺は家を飛び出すのだ。
<102> Not wanting to see his face, it became a daily routine for me to not return home till late at night, when my father was asleep.
// だから顔を合わせないよう、親父の寝入る深夜になるまで家には戻らない生活をずっと続けていた。
<103> Because I go to bed in the wee hours of dawn, it is usually noon when I wake.
// 明け方に寝るから、目覚めるのは昼近く。
<104> Ever since I started high school, I was late just about every day.
// 高校に入ってからの俺は、毎日のように遅刻だった。
<105> That sort of life has continued for three years.
// そんな生活を続けて三年近くになる。
<106> As usual, I just put on my uniform, and rush out of the house before my father had a chance to return.
// 今日も制服だけ着替えて、親父が帰ってくる前に折り返し家を出る。
<107> Such was my health depriving routine.
// それが体に染みついた日常だった。
<108> I wander about the town during night.
// 夜の町をうろつく。
<109> My final destination is always the same.
// 最後に行き着く場所はいつも同じだ。
<110> I head for a bento vendor, and then buy a bento for my dinner.[2]
// 行きがけにある弁当屋で、夕飯となる弁当を買い求めた後…
<111> With that in my hand, I head for the student dormitories by the foot of the hill on which my school was located.
// それを手に、学校の坂下に建つ学生寮へ。
<112> Our school particularly stresses on club activities, thus we get many students from the area.
// うちの学校は特に部活動に力を入れているため、地方から入学してくる生徒も多い。
<113> These students leave their parents and home. Instead, they spend three years here.
// そんな生徒たちは親元を離れて、ここで三年間を過ごすことになるのだ。
<114> Totally unlike me; unlike I who have no goals for my student career.
// 俺のような学生生活に夢も持たない人間とはまったく違う人種。
<115> I am not concerned with meeting any of these people, but that guy… Sunohara resides here.
// 関わり合いになることもなかったが、こんな場所にあいつ…春原は住んでいるのだ。
<116> Sunohara was originally from the soccer team; he was one who was recommended this school for its sports.
// 春原は元サッカー部で、この学校にも、スポーツ推薦で入学してきた人間だ。
<117> But during his first year, he got into a large fight with students from another school and was suspended. And he stopped being a regular member.
// しかし一年生の時に他校の生徒と大喧嘩をやらかし停学処分を受け、レギュラーから外された。
<118> After the recruitment for new members ended the next year, he no longer had any place in the club.
// そして新人戦が終わる頃には、あいつの居場所は部にはなかった。
<119> He could only quit.
// 退部するしかなかったのだ。
<120> After that, he did not have the money to change lodgings, he thus continued living at the dorms for members of sports teams.
// その後も別の下宿に移り住む金銭的余裕もなく、この体育会系の学生が集まる学生寮に身を置き続けているのだ。
<121> \{Voice}“How many times do I have to repeat myself to make you understand, huh?”
// \{声}「何度言えばわかるんだよっ」
<122> \{Sunohara}“But it’s already all totally soft.”
// \{春原}「でも、すげぇ小さい音だったっての」
<123> Sunohara’s there.
// 春原がいた。
<124> He was talking to a gargantuan male with an awkward build outside someone else’s room.
// 別の部屋の前で、やたら図体のでかい男子生徒と話をしていた。
<125> \{Young Man}“Even if it’s all totally soft, the thin walls will leak sound!”
// \{男子}「すげぇ小さい音でも、壁が薄いから響くんだよっ！」
<126> \{Young Man}“Use the damn headphones!”
// \{男子}「ヘッドホンで聴けよっ」
<127> \{Sunohara}“I don’t hav’ such high–grade equipment, haha.”
// \{春原}「んな高級なもんねぇって、ははっ」
<128> \{Young Man}“Then don’t listen at all!”
// \{男子}「じゃあ、聴くなっ」
<129> \{Sunohara}“Nay, if I don’t listen I won’t feel in the mood, huh.”
// \{春原}「いや、でも、あれ聴かないと、調子出ないんだよね」
<130> \{Sunohara}“Furthermore, it’s a splendid, cool song huh?”
// \{春原}「それに、結構、イカす音楽だと思うんだよね」
<131> \{Young Man}“……….”
// \{男子}「………」
<132> \{Sunohara}“Why don’t you try listening to the lyrics this time huh? They’re great.”
// \{春原}「今度、歌詞とかちゃんと聴いてみてよ、イカしてるから」
<133> \{Young Man}“There’s nothing remotely cool about it….”
// \{男子}「イカしてるも何もねぇ…」
<134> \{Young Man}“You’re making me seriously PISSED!”
// \{男子}「こっちは、むかついてんだよぉっっ！」
<135> \{Young Man}“The next time I hear that, I’ll kick you out!”
// \{男子}「次聞こえてきたら、叩き出すぞっ！」
<136> Batan’[J]!\shake{4} *Bam
// バタンッ！\shake{4}
<137> \{Sunohara}“Hii!”
// \{春原}「ひぃっ！」
<138> \{Sunohara}“……….”
// \{春原}「………」
<139> In front of the shut door, Sunohara stood with his head looking down.
// 閉ざされたドアの前で、うなだれる春原。
<140> \{Sunohara}“Damn…fucking rugby bastard….”
// \{春原}「くそぅ…ラグビー部め…」
<141> He mumbled softly.
// そう小さく呟いた。
<142> \{\m{B}}“With that voice, they wouldn’t be able to hear, y’know.”
// \{\m{B}}「んな声じゃ、聞こえないだろ」
<143> \{\m{B}}“\size{30}DAMN! FUCKING RUGBY BASTARRD–’! \size{}”
// \{\m{B}}「\size{30}くそぅ！ラグビー部めえぇぇぇーっ！\size{}」
<144> Standing behind him, I shout out his comment.
// その背後に立ち、大きな声で言い直してやる。
<145> \{Sunohara}“Hiii’!”
// \{春原}「ひぃぃっ！」
<146> He engaged me in a headlock and dragged me into his room.
// 春原は俺の頭を抱えると、自分の部屋へと引きずり込む。
<147> Down the corridor, an angry reply came: ‘WHO WAS THAT JUST NOW?!’
// 廊下では、『今の誰だぁっ！』と怒声が響いていた。
<148> \{Sunohara}“Haa…haa….”
// \{春原}「はぁ…はぁ…」
<149> \{Sunohara}“Were you trying to get me killed’?!”
// \{春原}「僕を殺す気かっ！」
<150> \{\m{B}}“Wasn’t it you who first said that?”
// \{\m{B}}「おまえが言ったんじゃないかよ」
<151> \{Sunohara}“Ahem, excuse me, \m{A}….”
// \{春原}「あのさ、\m{A}…」
<152> \{Sunohara}“Even at the best of times, I don’t get along well with the guys over here, you know ….”
// \{春原}「ただでさえ、ここのところ、連中との関係が穏やかじゃなくなってるんだからさ…」
<153> \{\m{B}}“Show them who’s the boss man.”
// \{\m{B}}「派手に散ろうぜ」
<154> \{Sunohara}“I have one more year left, you know that?!”
// \{春原}「後、一年残ってるよっ！」
<155> \{\m{B}}“And so you intend to live in fear.”
// \{\m{B}}「おまえ、そうやって、ビクビク暮らしてくのな」
<156> \{Sunohara}“Hey….”
// \{春原}「あのね…」
<157> \{Sunohara}“I couldn’t even take them on one–to–one. For one, the opponents are all rugby guys, yea?”
// \{春原}「僕だって、一対一なら引くことはないさ。たとえ、相手がラグビー部だとしてもね」
<158> \{Sunohara}“Even though the rooms surrounding mine all belong to the rugby team….”
// \{春原}「けど、周りは全部ラグビー部の部屋…」
<159> \{Sunohara}“If I cause any, like, trouble over here… things won’t be pretty for me, like….”
// \{春原}「こんな場所で事を起こした日にゃ…分が悪すぎるよ…」
<160> \{Sunohara}“But, well, if it’s just before graduation, it might not be half bad huh.”
// \{春原}「でも、まぁ、卒業間際になったら、派手にやるのもいいね」
<161> \{Sunohara}“When the time comes, \m{A}, you’ve got my back, man.”
// \{春原}「そん時は、\m{A}、僕の背中はおまえに任せるぜっ」
<162> \{\m{B}}“Good! I’ll tag along!”
// \{\m{B}}「ラッキー、ザックリいくな」
<163> \{Sunohara}“DAMN, don’t come! Get away!”
// \{春原}「くるなよっ！いけよっ！」
<164> \{\m{B}}“But I’m on the rugby team’s team, y’see?”
// \{\m{B}}「だって、俺、ラグビー部側だぜ？」
<165> \{Sunohara}“Since when?!”
// \{春原}「いつからだよっ！」
<166> \{\m{B}}“Nope, only when the time comes.”
// \{\m{B}}「いや、そん時だけ」
<167> \{Sunohara}“Okay? Why!?”
// \{春原}「はい！？なんでよっ！？」
<168> \{Sunohara}“What on earth was the past two years we’ve been comrades for?! Eeh’!?”
// \{春原}「共に過ごしてきた僕らの二年間は一体何よっ！ええっ！？」
<169> \size{30}Doon’!\size{}\shake{4} *Boom
// \size{30}どぉんっ！\size{}\shake{4}
<170> The wall shook.
// 壁が揺れた。
<171> Following that, an angry shout was heard: ‘Shut the HELL UP’!’
// 続けざま、『静かにしろぉっ！』と怒鳴り声。
<172> \{Sunohara}“Hii’.”
// \{春原}「ひぃっ」
<173> \{\m{B}}“Kick him back!”
// \{\m{B}}「蹴り返してやろう」
<174> \{Sunohara}“Stop IT’!”
// \{春原}「やめてくれぇっ！」
<175> \{Sunohara}“}“You look really tense, y’know.”
// \{\m{B}}「おまえ、超ビビリな」
<176> \{Sunohara}“You; …look from my perspective here….”
// \{春原}「おまえな…僕の立場に立ってみろよ…」
<177> He’s crying….
// 泣いている…。
<178> \{Sunohara}“I’m begging you, please, really, just please don’t be rowdy.”
// \{春原}「頼むから、ここでは大人しくしててくれ」
<179> \{\m{B}}“Ah, oh….”
// \{\m{B}}「あ、ああ…」
<180> I was taken aback at the intensity of his misery.
// その迫力ある惨めさに気圧されてしまう。
<181> Mogumogu[J]…. *munch munch
// もぐもぐ…
<182> I relaxed myself in the confined space between the ancient kotasu and the wall, and started eating my bento.[3]
// 俺は壁と万年コタツに挟まれた狭い空間に腰を落ち着けて、弁当を食べ始めていた。
<183> \{\m{B}}“Excuse me, tea please.”
// \{\m{B}}「悪い、お茶」
<184> \{Sunohara}“Ain’t got NONE’!”
// \{春原}「出ねーよっ！」
<185> \{\m{B}}“That’s why I said “Excuse me” and “please”, didn’t I?”
// \{\m{B}}「だから悪いって、言ってるじゃん」
<186> \{Sunohara}“Use your brains, I haven’t any tea’!”
// \{春原}「頭下げようが、出ねぇよっ」
<187> \{Sunohara}“Have you mistaken this for a cafeteria or something?”
// \{春原}「おまえ、ここが食堂かなんかと勘違いしてない？」
<188> \{\m{B}}“This is your room. I can tell at least that much.”
// \{\m{B}}「おまえの部屋だろ。わかってるよ」
<189> \{Sunohara}“Yes.”
// \{春原}「ああ」
<190> \{\m{B}}“And that makes you the maid.”
// \{\m{B}}「そして、おまえは、小間使いだ」
<191> \{Sunohara}“You so totally do not get it.”
// \{春原}「ぜんぜんわかってないっすね」
<192> \{\m{B}}“Thanks for the favour then, I forgot to buy some.”
// \{\m{B}}「頼むよ、買い忘れてきたんだよ」
<193> \{Sunohara}“And it hasn't occurred to you that you could just get out to buy some yourself….”
// \{春原}「自分で行くという発想は、浮かばないのかよ…」
<194> \{\m{B}}“But by doing so you are, like say, helping in my life, and as helping me is your duty, there’s no better logic, not?”
// \{\m{B}}「だって、おまえ、俺に命を助けられてからというもの、俺の役に立ちたくて、仕方がなかったんだろ？」
<195> \{Sunohara}“You can never convince me to believe that nonsense.”
// \{春原}「そんな裏設定は隠されていませんっ」
<196> \{\m{B}}“It’s like what you said after you saved me.”
// \{\m{B}}「俺が助けた後、おまえ、言ったじゃん」
<197> \{\m{B}}“During the time, when this person called Sunohara died….”
// \{\m{B}}「春原という男は、あの時死にました…」
<198> \{\m{B}}“What remains now, as a memory of my service to you, is a cup of bitter tea…was what he had said.”
// \{\m{B}}「今ここにいるのは、あなたにお仕えする、ただのお茶くみなのです…てさ」
<199> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<200> \{Sunohara}“Don’t spin grandiose lies!”
// \{春原}「壮大な嘘つくなっ」
<201> \{\m{B}}“Just your last cup will do.”
// \{\m{B}}「じゃあ、最後のお茶でいいから」
<202> \{Sunohara}“There’s no first cup, and never a last!”
// \{春原}「最初も最後もねぇよっ」
<203> \{\m{B}}“No, I’m very touched; you used up all your strength for my request.”
// \{\m{B}}「いや、感動的だぜ。これ聞いたら、おまえは、絶対入れたくなるな」
<204> \{\m{B}}“You suffered a major injury, just to help me.”
// \{\m{B}}「大怪我を負ったおまえは、もう助かりそうもなかった」
<205> \{\m{B}}“And that very you abided my command to collect this tea just for the sake of the thirsting me.”
// \{\m{B}}「そのおまえに、のどが渇いた俺は、お茶くみを命ずる」
<206> \{\m{B}}“Thereupon, you summoned you very last, and, crawling on your knees, poured the tea into the cup.”
// \{\m{B}}「すると、おまえは最後の力を振り絞り、這いつくばりながらも、お茶を入れにいくんだ」
<207> \{\m{B}}“And then….”
// \{\m{B}}「そして…」
<208> \{\m{B}}“\m{A}–sama…here is your tea.”
// \{\m{B}}「\m{A}様…お茶でございます…」
<209> \{\m{B}}“And then, this will be…the last…cup of tea I am making….”
// \{\m{B}}「そして、これが…最後の…お茶となります…」
<210> \{\m{B}}“And when you died, your face was smiling with contentment.”
// \{\m{B}}「死に顔は、笑顔なんだ」
<211> \{Sunohara}“You truly like messing around with me, don’t you!”
// \{春原}「僕、ムチャクチャ本望そうっすね！」
<212> \{\m{B}}“But wasn’t that your wish?”
// \{\m{B}}「それが、おまえの望みなんだって」
<213> \{\m{B}}“And then, I was weeping, as I drank your last cup of tea.”
// \{\m{B}}「そして、俺は泣きながらに、その最後のお茶を飲む」
<214> \{\m{B}}“Ah, it was really very moving.”
// \{\m{B}}「な、感動的だろ」
<215> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<216> \{Sunohara}“Told’ya I haven’t got ANY.”
// \{春原}「出ねぇってのっ」
<217> After that, I and read through one of his magazines.
// それからは、雑誌を読んで、過ごす。
<218> As there was no television, other than chatting and going through magazines, there was no other way of passing time.
// テレビがなかったから、話をするか、本を読む以外に、時間を潰す方法はなかった。
<219> \{Sunohara}“Huaah….”
// \{春原}「ふわ…」
<220> \{Sunohara}“It’s about time. Aren’t you going to sleep?”
// \{春原}「そろそろ、寝ない？」
<221> It was already late; the day was over, and it was late at night.
// すでに日付は変わり、深夜となっていた。
<222> \{\m{B}}“Yes…you’re right.”
// \{\m{B}}「ああ…そうだな」
<223> I didn’t want to sleep in Sunohara’s room.
// 俺は春原の部屋に泊まることだけはしなかった。
<224> The mere thought of waking up beside such a person in the morning was already depressing.
// こんな奴と共に朝を迎えるなんて、想像しただけでも憂鬱になる。
<225> \{Sunohara}“I’m going to take a shower then.”
// \{春原}「じゃ、僕、シャワー浴びてくっから」
<226> \{\m{B}}“Ya.”
// \{\m{B}}「ああ」
<227> From within the pile of clothes by a corner of the room, Sunohara fished out a pair of undergarments and a towel, and proceeded out of the room.
// 部屋の隅で山となっている衣類の中から、下着とタオルを引っ張り出すと、春原は部屋を出ていく。
<228> \{\m{B}}“……….”
// \{\m{B}}「………」
<229> I would really want to avoid facing Sunohara when her returns after his shower.
// シャワーから戻ってきた春原を迎える、という状況もできたら避けたい。
<230> I should be going home just about now.
// 今のうちに帰ることにしよう。
<231> I closed the magazine, and got up.
// 雑誌を閉じて、体を起こす。
<232> Thereupon, I chanced on a radio–cassette player in front of me.
// すると、すぐ正面、一台のラジカセと向き合わせになる。
<233> There was a cassette inserted inside.
// 中にはテープが入ったままになっていた。
<234> I played it.
// 再生してみる。
<235> When the tape started rolling, a hip–hop song that used to be popular long ago could be heard.
// 流れてきたのは、一昔前に流行った、歌謡ヒップホップ。
<236> \m{B} (The hell…)
// \{\m{B}}（ダッサ…）
<237> \m{B} (I’m not listening to this…)
// \{\m{B}}（こんなの聴かねぇだろ…）
<238> Rap over the cassette
// 上書きで何か吹き込む
<239> Give it a pass
// やめておく
<240> K’; I guess I’m going to rap an original instead.
// よし、代わりに俺のオリジナルラップを吹き込んでやろう。
<241> The title is, ‘From me to my best friend, Sunohara, rap’.
// テーマは『俺から、親友春原に捧ぐラップ』だ。
<242> The thought of him choking with emotion came into my mind.
// あいつの感動にむせぶ姿が目に浮かぶ。
<243> \m{B} (Here I go…)
// \{\m{B}}（いくぞ…）
<244> With a deep breath, I pushed the record button.
// 息を大きく吸い込み、録音ボタンを押す。
<245> \{\m{B}}“… YO! YO! Here’s \m{A}! You’re,”
// \{\m{B}}「…YO! YO! オレ\m{A}！オマエはっ」
<246> As the tune went on, I spun out my words.
// テンポよく、言葉を紡ぎ出す。
<247> \{\m{B}}“You’re….”[4]
// \{\m{B}}「オマエは…」
<248> But… I couldn’t think of any words after that.
// が…その先が何も浮かんでこない。
<249> Stop. I sound like an idiot…
// やめた。アホらし…
<250> Say anything relevant that comes to mind.
// 適当に思いついた言葉を発する
<251> \{\m{B}}“A Mongolian chop!”
// \{\m{B}}「モンゴリアンチョップ！」
<252> \{\m{B}}“No, you’ll get a Mongolian Chop”
// \{\m{B}}「いや、オマエに、モンゴリアンチョップ」
<253> \{\m{B}}“Wait, it doesn't make any sense no matter how I say it….”
// \{\m{B}}「って、どちらにしても意味不明だな…」
<254> \{\m{B}}“Evolved above shore into the WuperRuper!”
// \{\m{B}}「陸に上がって進化を遂げたウーパールーパー！」
<255> \{\m{B}}“Hmm…? I said it as a joke, but it somehow turned out sounding serious….”
// \{\m{B}}「あれ…？冗談で言ったのに、なんだかマジでそう思えてきたぞ…」
<256> \{\m{B}}“……….”
// \{\m{B}}「………」
<257> \{\m{B}}“You’re…WuperRuper?”
// \{\m{B}}「おまえ…ウーパールーパー？」
<258> \{\m{B}}“Made–In–China!”
// \{\m{B}}「メイド・イン・チャイナ！」
<259> \{\m{B}}“Mass produced by China.”
// \{\m{B}}「中国で大量生産されてんだ」
<260> \{\m{B}}“With innards!”
// \{\m{B}}「って、キモッ！」
<261> \{\m{B}}“Cock–a–doodle–doo–!”
// \{\m{B}}「クックドゥードゥルドゥー！」
<262> \{\m{B}}“Uwah, I have no idea what I am talking about ~! Hahahaha!”
// \{\m{B}}「うわ、俺ひとりで何言ってんだろ、わっけわかんね～！はははは！」
<263> \{\m{B}}“Aotenagahukurooosunoharamodoki!”
// \{\m{B}}「アオテナガフクロオオスノハラモドキ！」
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”[5]
// \{\m{B}}「青くて手が長くて袋を持ってて大きい春原のモドキなんだ」
<265> \{\m{B}}“Wait, imitation clay figure isn’t as frightening as original!/p Hey, what if I meddled with it?””
// \{\m{B}}「って、モドキじゃないオリジナルで十分怖ぇよっ！\pってツッコミたくならんか？」
<266> \{\m{B}}“Have a topknot hairstyle!”[6]
// \{\m{B}}「ちょんまげ！」
<267> \{\m{B}}“Nay, Sunohara doesn’t have a topknot hairstyle….”
// \{\m{B}}「いや、ちょんまげじゃねぇし…」
<268> \{\m{B}}“Then this rap would be one huge lie….”
// \{\m{B}}「じゃ、このラップ嘘になるじゃん…」
<269> \{\m{B}}“Sunohara, my bad, go get a topknot hairstyle.”
// \{\m{B}}「春原、わりぃ、ちょんまげにしてくれ」
<270> \{\m{B}}“Hpfuu’….”
// \{\m{B}}「ぷっ…」
<271> \{\m{B}}“Crap, I laughed before I could say the words.”
// \{\m{B}}「やべ、言う前に自分で笑っちまった」
<272> \m{B} (… forget it. I sound like an idiot…)
// \{\m{B}}（…やめた。アホらし…）
<273> \{\m{B}}“… forget it. I sound like an idiot….”
// \{\m{B}}「…やめた。アホらし…」
<274> I hit it in frustration.
// 速攻で挫折する。
<275> What’s my problem, doing such stuff for his sake?
// どうして、あいつのためにこんなことをしてやらなくちゃいけないんだ。
<276> In the first place, you couldn’t call our relationship close.
// そもそも、親友なんて呼べるほどの間柄でもないじゃないか。
<277> \m{B} (Gotta hurry home…)
// \{\m{B}}（とっとと、帰ろう…）
<278> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
<279> For once, I left his room as is, even though the day did ended without me completing anything….
// かつて、俺をひとり部屋に放置して、何事もなく終わったことはないのだが…
<280> I’ll spare him for today, huh.
// 今日のところは許しておいてやるか。
<281> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
</pre>
</div>

=== Notes ===
[1]
<43> \{Girl}“Do you like this school?”
*can also be translated as: \{Girl}“Do I like this school?”.

[2]
<110> I head for a bento[J] vendor, and then buy a bento for my dinner.
*A bento is a Japanese box filled with food.

[3]
<182> I relaxed myself in the confined space between the ancient kotasu[J] and the wall, and started eating my bento.
*A kotasu is a table with a heater underneath.

[4]
<247> \{\m{B}}“You’re…”
*Is translated as \{\m{B}}“You…” in several versions of the next line in the rap.

[5]
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”
*Blue hands held a long bag, with an imitation Sunohara clay figure.

[6]
<266> \{\m{B}}“Have a topknot hairstyle!”
*Is a hairstyle popular in ancient Japan; http://en.wikipedia.org/wiki/Chonmage

== Alternative translation ==
I wish to post my translation to be used as additional materials to edit with, but it's in the wrong format (and thus cannot be used as a preview), and I do not know where to post it.[[User:Jc100|Jc100]] 04:38, 6 February 2007 (PST)

I suggest using this page and use the clannadbox div tags:
<pre><div class="clannadbox">
<pre>
insert text here
</pre>
</div></pre>

-- [[User:Velocity7|velocity7]], 7:56 AM EST February 6, 2006

Actually, I meant that my translation was not in the SEEN format, I extracted it out for ease. I'll post mine for comparison though.[[User:Jc100|Jc100]] 19:15, 9 February 2007 (PST)

Since V7 didn't give me any specific instructions, I would be taking some liberal liberties with the editing of the text here, especially with tenses.

Forgive me if I make some errors here and there as I can't read Japanese, and am fairly new to this editing business. Please bring to light anything that is really supposed "to be like that".

p.s@velocity7: Bicube sends you a punch.

--[[User:Umiman|umiman]] 18:36, 12 February 2007 (PST)

Can someone look over lines 0088 - 0092.

It doesn't really seem to make sense how his father was depressed before the accident, and depressed again after the accident.

Also, there are issues with lines 0114 - 0115.

--[[User:Umiman|umiman]] 19:06, 13 February 2007 (PST)

This was the original translation I made, does this sounds better?
******
Line 0114: They are totally different from me who has no dream at all.
Line 0115: I couldn't care less though, and also in this place... lives Sunohara.

******
About 0088 - 0092: Tomoya's father was depressed when he lost his wife, and made him waste his time by drinking alcohol and gambling. But one day, Tomoya and his father had a fight that end up injuring Tomoya, after that, his father locked up his feelings (maybe pretend to lock his feelings) towards Tomoya and started calling his name with a -kun attached to it.--[[User:DGreater1|DGreater1]] 19:37, 16 February 2007 (Phillipine time)

:@Uniman. See if the way my translation phrases it better. Feel free to 'assimilate' some of my lines to the main text file, or use your own if you have a new perspective on hhow to phrase them. But make sure to change the ellipse characters into sets of three periods, and the open and close quotation marks into just plain quotation marks as per the guidelines.

:--[[User:Jc100|Jc100]] 23:13, 18 February 2007 (PST)

******
Sorry for the long delay in reading this. Sick for quite awhile and had a lot of projects to do:

Line 0114: Reworked the sentence to fit.

Line 0115: I suggest using JC100's translation for this. I also suggest using Jc's translation for lines 0088 to 0092 as well.

From what I can see, DGreater1 and JC100 have quite contrasting translation styles. DGreater seems to focus more on faithfulness to the original text while JC100 is more keen on making it sound nice in English.

I might be wrong though, but I'll suggest the times when it might be better to switch between the two.

p.s: This is mostly a rough go-through. It's hard reading two translations at once, so please bear with me :).

--[[User:Umiman|umiman]] 22:29, 4 March 2007 (PST)
=== SEEN0414 and SEEN0415 Line Consistency ===
<pre>
****************************************
SEEN0414 Original
****************************************
<0047> Probably wondering what her boyfriend (or girlfriend) would say.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<0048> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0049> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0050> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0051> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0052> With great difficulty, she continues to speak.
****************************************
SEEN0415 Original
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really really like this school." // same with line 0048 from SEEN0414
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, there might be nothing here that will never change." // same with line 0049 from SEEN0414
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Enjoyable things and happy things, all of them." // same with line 0050 from SEEN0414
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "All of them will change."
// \{女の子} 「ぜんぶ、変わらずにはいられないです…」// same with line 0051 from SEEN0414
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
****************************************
SEEN0415 With the lines from SEEN0414
****************************************
<0456> I heard this line before. But this time, she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
// 最後の言葉は俺が言っていた。
</pre>

What I mean is, is line 459-463 enough to make Tomoya think about ''"And then, you'll end up not liking this place anymore?"?''
Line 459-463 seems to be missing some context which makes Tomoya's line '''"And then, you'll end up not liking this place anymore?"''' quite confusing

I'll try to put type it in like a book novel to make more sense...

<br>'''First Group'''<br>
She said, "I really, really do... But nothing... can remain the same."<br>
"Even fun things and happy things... Nothing stays that way forever."<br>
"And then, you'll end up not liking this place anymore?" Tomoya blurted... <br>
"That's right." she replied.<br>
<br>
<br>'''Second Group'''<br>
She said, "I really really like this school... But, there might be nothing here that will never change."<br>
"Enjoyable things and happy things, all of them... All of them will change."<br>
"And then, you'll end up not liking this place anymore?" Tomoya blurted... <br>
"That's right." she replied.<br>

You see the difference with the lines? The first group of sentence is emphasizing that nothing stays the same forever, while the second group is emphasizing that there might be nothing there that will ever change. The lost of context makes the first group sound like Tomoya just blurted out the sentence '''"And then, you'll end up not liking this place anymore?"''' without reason. ''Nothing stays that way forever'' and Tomoya's line doesn't seem to connect properly too. Compared to ''"All of them will change, and then you'll end up not liking this place anymore."''

Talk:Clannad:SEEN0414

2007-04-22T06:25:17Z

Dgreater1: Minor Edit

== Alt. Translation Post ==

<div class="clannadbox">
<pre>
// Resources for SEEN0414.TXT

#character '＊Ｂ'
//#character '＊Ｂ'
#character 'Voice'
//#character '声'
#character 'Girl'
//#character '女の子'
#character 'Teacher'
//#character '教師'
#character 'Sunohara'
//#character '春原'
#character 'Young Man'
//#character '男子'

<0> I hate this town.
// この町は嫌いだ。
<1> It’s because there are places stained with memories that I wish to forget.
// 忘れたい思い出が染みついた場所だから。
<2> Going to school every day, attending lessons every day, chatting with friends every day, and then returning to the house that I do not wish to return, every day.
// 毎日学校に通い、授業を受け、友達とだべり、そして帰りたくもない家に帰る。
<3> Nothing new, or the like, ever occurs.
// 何も新しいことなど始まらない。
<4> \m{B} (With this routine carrying on, I wonder if anything has actually changed….)
// \{\m{B}}（こうしていて、何かが変わるんだろうか…）
<5> \m{B} (When will my life ever change…?)
// \{\m{B}}（俺の生活は、いつか変わるんだろうか….）
<6> A town separated all over by rampant greenery.
// やたらと自然が多い町。
<7> Having to detour around mountains to attend school.
// 山を迂回しての登校。
<8> If only I could cut through all the mountains, how much easier it would probably have been.
// すべての山を切り開けば、どれだけ楽に登校できるだろうか。
<9> If I walked in a straight line, I would then be able to shave off about 20 minutes.
// 直線距離を取れば、２０分ぐらいは短縮できそうだった。
<10> \m{B} (One day, 20 minutes….)
// \{\m{B}}（一日、２０分…）
<11> \m{B} (And thus, in a year, roughly how much time will I be able to gain?)
// \{\m{B}}（すると、一年でどれぐらい、俺は時間を得することになるんだ….）
<12> I do the mathematics while walking.
// 計算しながら、歩く。
<13> \m{B} (Aah, hell, I have totally no idea….)
// \{\m{B}}（ああ、よくわかんねぇ…）
<14> I see nobody nearby who appears to be a schoolmate.
// 辺りに同校の生徒の姿はない。
<15> As this is the main street that leads to school, it should essentially be flourishing with pupils.
// 学校に続く大通りだから、本来、生徒で賑わっているはずだった。
<16> Today is not a holiday or anything.
// 今日が、休日というわけでもない。
<17> In other words…this is not the time when a student ought to attend school; and thus is the situation now.
// つまりは…生徒が登校すべき時間ではない、ということ。
<18> But, despite appearing to have a cannot–be–bothered attitude from a spectator’s perspective, I did not hurry, and continued with my easygoing pace.
// けど、そんな閑散とした光景を目の当たりにしても俺は焦ることなく、悠長に歩き続けた。
<19> ……….
// ………。
<20> 200 meters left to the school gate.
// 校門まで残り２００メートル。
<21> I stop for a moment, out of breath.
// 一度立ち尽くす。
<22> \{\m{B}}“Haa.”
// \{\m{B}}「はぁ」
<23> And sigh, simultaneously looking towards the sky.
// ため息と共に空を仰ぐ。
<24> The destination was the school gate.
// その先に校門はあった。
<25> Whose choice has it been, to lay the gate at such a place?
// 誰が好んで、あんな場所に校門を据えたのか。
<26> The long sloping path extended high up, like those in nightmarish dreams.
// 長い坂道が、悪夢のように延びていた。
<27> \{Voice}“Haa.”
// \{声}「はぁ」
<28> An other, different sigh. Smaller and shorter than mine.
// 別のため息。俺のよりかは小さく、短かかった。
<29> I looked beside me.
// 隣を見てみる。
<30> There, standing exhausted like I, was a female student.
// そこに同じように立ち尽くす女生徒がいた。
<31> From the colour of her school badge, I could tell she was another third–year student.
// 校章の色から、同じ三年生だとわかる。
<32> However, her face is not familiar.
// けど、見慣れない顔だった。
<33> Her short hair that ended by her shoulders flutters in the wind.
// 短い髪が、肩のすぐ上で風にそよいでいる。
<34> Female child “……….”
// \{女の子}「………」
<35> A face that appeared to be on the verge of tears.
// 今にも泣きだしそうな顔だった。
<36> I was somewhat of a habitual latecomer and thus have no qualms about coming late today, but with a diligent girl like her…
// 俺なんかは常習犯だったからなんとも思わないが、真面目な奴なのだろう…
<37> Going into class now by herself must be somewhat tough.
// この時間にひとり教室に入っていくことに抵抗があるのだ。
<38> \{Girl}“Yes, yes….”
// \{女の子}「うんうん…」
<39> She appeared to be whispering something to herself, with her eyes closed, and nodding from moment to moment.
// 何かを自分に言い聞かせるように、目を瞑って、こくこくと頷いている。
<40> Female Child “……….”
// \{女の子}「………」
<41> And then, she opened her eyes.
// そして少女は目を見開く。
<42> Ji–tto[J], fixed her eyes on the school gate, high above.
// じっと、高みにある校門を見つめた。
<43> \{Girl}“Do you like this school?”[1]
// \{女の子}「この学校は、好きですか」
<44> \{\m{B}}“Eh…?”
// \{\m{B}}「え…？」
<45> No, she was not asking me.
// いや、俺に訊いているのではなかった。
<46> The question was posed for a person existing in her imagination.
// 妄想の中の誰かに問いかけているのだ。
<47> I do wonder how that guy (or possibly female) may answer.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<48> \{Girl}“I like this school very, very much.”
// \{女の子}「わたしはとってもとっても好きです」
<49> \{Girl}“But, just about everything… I am unable to change along with.”
// \{女の子}「でも、なにもかも…変わらずにはいられないです」
<50> \{Girl}“Like those that are fun, like those that fill with joy, all of them.”
// \{女の子}「楽しいこととか、うれしいこととか、ぜんぶ」
<51> \{Girl}“All of them, I am unable to change along with.”
// \{女の子}「ぜんぶ、変わらずにはいられないです」
<52> With apparent difficulty, her conversation continued.
// たどたどしく話し続ける。
<53> \{Girl}“Even then, do I still like this place?”
// \{女の子}「それでも、この場所が好きでいられますか」
<54> ……….
// ………。
<55> \{Girl}“I….”
// \{女の子}「わたしは…」
<56> \{\m{B}}“Why don’t you try looking for them?”
// \{\m{B}}「見つければいいだけだろ」
<57> \{Girl}“Eh’…?”
// \{女の子}「えっ…？」
<58> Surprised, the girl looked towards my face.
// 少女が驚いて、俺の顔を見る。
<59> It seemed as though she had completely believed that there had not been anybody around.
// まるで、今まで誰もいないと信じていたかのようにだ。
<60> \{\m{B}}“Looking for other fun and happy things will solve the problem, won’t it?”
// \{\m{B}}「次の楽しいこととか、うれしいことを見つければいいだけだろ」
<61> \{\m{B}}“Do you have only one fun and happy activity? That’s not so, right?”
// \{\m{B}}「あんたの楽しいことや、うれしいことはひとつだけなのか？違うだろ」
<62> \{Girl}“……….”
// \{女の子}「………」
<63> Yes.
// そう。
<64> Times when we were pure and did not know anything.
// 何も知らなかった無垢な頃。
<65> Everybody has had a time like that.
// 誰にでもある。
<66> \{\m{B}}“Come on, let’s go.”
// \{\m{B}}「ほら、いこうぜ」
<67> April 14th (Monday)
// ４月１４日(月)
<68> \{Teacher}“Sunohara[J].”
// \{教師}「春原（すのはら）」
<69> The teacher called out the name of a student.
// 教師があるひとりの生徒の名を口にした。
<70> \{Teacher}“Absent, as usual.”
// \{教師}「相変わらずいないのか」
<71> I looked beside. Over there was Sunohara’s seat.
// 隣を見る。そこが春原の席だった。
<72> His attendance was worse than mine.
// こいつの遅刻率は俺より高い。
<73> Together, we are the only ones labelled as delinquents in the class.
// ふたり合わせてクラスの不良生徒として名指しされることが多かった。
<74> Maybe it’s because of that that we get along well.
// だからだろう、よく気が合う。
<75> Thus, among the class’s students, we can only chat with each other casually.
// そして、クラスの中で、唯一俺が心を許して話すことのできる人間だった。
<76> The lesson starts.
// 授業が始まる。
<77> I looked out of the window.
// 俺は窓の外を見て過ごした。
<78> The teacher’s words never made it past my ear.
// 教師の声はすべて聞き流して。
<79> A day’s worth of lessons has ended; it is now after class.
// 一日の授業を終え、放課後に。
<80> Even till the last moment, that Sunohara never came.
// 春原の奴は最後までこなかった。
<81> In the end, the only person whom I talked with today was that girl from this morning.
// 結局、今日俺が話をしたのは、朝に出会った女生徒だけだった。
<82> An everyday that truly never changes for the better.
// 実に代わり映えしない毎日。
<83> As I had not joined any club, I grabbed my empty bag and left the classroom; avoiding the jabbering students.
// 部活にも入っていない俺は、空っぽの鞄を掴むと、だべる生徒の合間を抜けて、教室を後にした。
<84> Even if I headed for home, there will not be anyone at this time of day.
// 家に帰っても、この時間は誰もいない。
<85> To start with, I did not have a mother anymore.
// もとより母親はいなかった。
<86> She died in a traffic accident when I was young; I don’t even remember her face.
// 俺が小さい頃に、交通事故で亡くなったそうだ。顔すら覚えていなかった。
<87> Maybe it was because of the shock of losing my mother… left behind, my father rotted away.
// 母を亡くしたショックでだろうか…残された父は堕落していった。
<88> He drank without end; he ruined his life by spending his free time of gambling.
// アルコールを絶やすことなく飲み続け、賭け事で暇を潰す生活。
<89> My youth was spent arguing with my father to fill the emptiness in our hearts.
// 少年時代の俺の暮らしは、そんな父との言い争いにより埋め尽くされた。
<90> But because of an incident, our relationship changed.
// けど、ある事件をきっかけにその関係も変わってしまった。
<91> He exhibited violence; I suffered an injury.
// 俺に暴力を振るい、怪我を負わせたのだ。
<92> Ever since that day, my father did not show any emotion.
// その日以来、父親は感情を表に出さないようになった。
<93> Furthermore, he never calls me by name; addressing me as ‘\m{B}–kun’, like an unrelated person.
// そして、俺の名を昔のように呼び捨てではなく、『\m{B}くん』とくん付けで呼び、言動に他人行儀を感じさせるようになった。
<94> As expected, I was in the process of joining the ranks of an outsider.
// それはまさしく、他人同士になっていく過程だった。
<95> It was as though a shell had shut us off to each other entirely, so to speak.
// まるで殻に閉じこもっていくように。
<96> It was as though we had wanted to sever all connections of the past from the present.
// 今と過去との接点を断ち切るように。
<97> It was a relief that we had rejected each other.
// 突き放すならまだ、よかったのに。
<98> Even though I was wounded, I was saved from the constant arguing.
// 傷つけてくれるなら、まだ救われたのに。
<99> In spite of that, when he notices that I had arrived home, he rejoices as though I am a visiting old friend…and proceeds to gossip.
// なのに父は学校から帰ってきた俺の姿を見つけると、まるで旧友が訪れたように喜んで…そして世間話を始めるのだ。
<100> My chest fills with hurt; I do not wanted to recollect.
// 胸が痛くなって、居たたまれなくなって…
<101> I ran out of the house.
// 俺は家を飛び出すのだ。
<102> Not wanting to see his face, it became a daily routine for me to not return home till late at night, when my father was asleep.
// だから顔を合わせないよう、親父の寝入る深夜になるまで家には戻らない生活をずっと続けていた。
<103> Because I go to bed in the wee hours of dawn, it is usually noon when I wake.
// 明け方に寝るから、目覚めるのは昼近く。
<104> Ever since I started high school, I was late just about every day.
// 高校に入ってからの俺は、毎日のように遅刻だった。
<105> That sort of life has continued for three years.
// そんな生活を続けて三年近くになる。
<106> As usual, I just put on my uniform, and rush out of the house before my father had a chance to return.
// 今日も制服だけ着替えて、親父が帰ってくる前に折り返し家を出る。
<107> Such was my health depriving routine.
// それが体に染みついた日常だった。
<108> I wander about the town during night.
// 夜の町をうろつく。
<109> My final destination is always the same.
// 最後に行き着く場所はいつも同じだ。
<110> I head for a bento vendor, and then buy a bento for my dinner.[2]
// 行きがけにある弁当屋で、夕飯となる弁当を買い求めた後…
<111> With that in my hand, I head for the student dormitories by the foot of the hill on which my school was located.
// それを手に、学校の坂下に建つ学生寮へ。
<112> Our school particularly stresses on club activities, thus we get many students from the area.
// うちの学校は特に部活動に力を入れているため、地方から入学してくる生徒も多い。
<113> These students leave their parents and home. Instead, they spend three years here.
// そんな生徒たちは親元を離れて、ここで三年間を過ごすことになるのだ。
<114> Totally unlike me; unlike I who have no goals for my student career.
// 俺のような学生生活に夢も持たない人間とはまったく違う人種。
<115> I am not concerned with meeting any of these people, but that guy… Sunohara resides here.
// 関わり合いになることもなかったが、こんな場所にあいつ…春原は住んでいるのだ。
<116> Sunohara was originally from the soccer team; he was one who was recommended this school for its sports.
// 春原は元サッカー部で、この学校にも、スポーツ推薦で入学してきた人間だ。
<117> But during his first year, he got into a large fight with students from another school and was suspended. And he stopped being a regular member.
// しかし一年生の時に他校の生徒と大喧嘩をやらかし停学処分を受け、レギュラーから外された。
<118> After the recruitment for new members ended the next year, he no longer had any place in the club.
// そして新人戦が終わる頃には、あいつの居場所は部にはなかった。
<119> He could only quit.
// 退部するしかなかったのだ。
<120> After that, he did not have the money to change lodgings, he thus continued living at the dorms for members of sports teams.
// その後も別の下宿に移り住む金銭的余裕もなく、この体育会系の学生が集まる学生寮に身を置き続けているのだ。
<121> \{Voice}“How many times do I have to repeat myself to make you understand, huh?”
// \{声}「何度言えばわかるんだよっ」
<122> \{Sunohara}“But it’s already all totally soft.”
// \{春原}「でも、すげぇ小さい音だったっての」
<123> Sunohara’s there.
// 春原がいた。
<124> He was talking to a gargantuan male with an awkward build outside someone else’s room.
// 別の部屋の前で、やたら図体のでかい男子生徒と話をしていた。
<125> \{Young Man}“Even if it’s all totally soft, the thin walls will leak sound!”
// \{男子}「すげぇ小さい音でも、壁が薄いから響くんだよっ！」
<126> \{Young Man}“Use the damn headphones!”
// \{男子}「ヘッドホンで聴けよっ」
<127> \{Sunohara}“I don’t hav’ such high–grade equipment, haha.”
// \{春原}「んな高級なもんねぇって、ははっ」
<128> \{Young Man}“Then don’t listen at all!”
// \{男子}「じゃあ、聴くなっ」
<129> \{Sunohara}“Nay, if I don’t listen I won’t feel in the mood, huh.”
// \{春原}「いや、でも、あれ聴かないと、調子出ないんだよね」
<130> \{Sunohara}“Furthermore, it’s a splendid, cool song huh?”
// \{春原}「それに、結構、イカす音楽だと思うんだよね」
<131> \{Young Man}“……….”
// \{男子}「………」
<132> \{Sunohara}“Why don’t you try listening to the lyrics this time huh? They’re great.”
// \{春原}「今度、歌詞とかちゃんと聴いてみてよ、イカしてるから」
<133> \{Young Man}“There’s nothing remotely cool about it….”
// \{男子}「イカしてるも何もねぇ…」
<134> \{Young Man}“You’re making me seriously PISSED!”
// \{男子}「こっちは、むかついてんだよぉっっ！」
<135> \{Young Man}“The next time I hear that, I’ll kick you out!”
// \{男子}「次聞こえてきたら、叩き出すぞっ！」
<136> Batan’[J]!\shake{4} *Bam
// バタンッ！\shake{4}
<137> \{Sunohara}“Hii!”
// \{春原}「ひぃっ！」
<138> \{Sunohara}“……….”
// \{春原}「………」
<139> In front of the shut door, Sunohara stood with his head looking down.
// 閉ざされたドアの前で、うなだれる春原。
<140> \{Sunohara}“Damn…fucking rugby bastard….”
// \{春原}「くそぅ…ラグビー部め…」
<141> He mumbled softly.
// そう小さく呟いた。
<142> \{\m{B}}“With that voice, they wouldn’t be able to hear, y’know.”
// \{\m{B}}「んな声じゃ、聞こえないだろ」
<143> \{\m{B}}“\size{30}DAMN! FUCKING RUGBY BASTARRD–’! \size{}”
// \{\m{B}}「\size{30}くそぅ！ラグビー部めえぇぇぇーっ！\size{}」
<144> Standing behind him, I shout out his comment.
// その背後に立ち、大きな声で言い直してやる。
<145> \{Sunohara}“Hiii’!”
// \{春原}「ひぃぃっ！」
<146> He engaged me in a headlock and dragged me into his room.
// 春原は俺の頭を抱えると、自分の部屋へと引きずり込む。
<147> Down the corridor, an angry reply came: ‘WHO WAS THAT JUST NOW?!’
// 廊下では、『今の誰だぁっ！』と怒声が響いていた。
<148> \{Sunohara}“Haa…haa….”
// \{春原}「はぁ…はぁ…」
<149> \{Sunohara}“Were you trying to get me killed’?!”
// \{春原}「僕を殺す気かっ！」
<150> \{\m{B}}“Wasn’t it you who first said that?”
// \{\m{B}}「おまえが言ったんじゃないかよ」
<151> \{Sunohara}“Ahem, excuse me, \m{A}….”
// \{春原}「あのさ、\m{A}…」
<152> \{Sunohara}“Even at the best of times, I don’t get along well with the guys over here, you know ….”
// \{春原}「ただでさえ、ここのところ、連中との関係が穏やかじゃなくなってるんだからさ…」
<153> \{\m{B}}“Show them who’s the boss man.”
// \{\m{B}}「派手に散ろうぜ」
<154> \{Sunohara}“I have one more year left, you know that?!”
// \{春原}「後、一年残ってるよっ！」
<155> \{\m{B}}“And so you intend to live in fear.”
// \{\m{B}}「おまえ、そうやって、ビクビク暮らしてくのな」
<156> \{Sunohara}“Hey….”
// \{春原}「あのね…」
<157> \{Sunohara}“I couldn’t even take them on one–to–one. For one, the opponents are all rugby guys, yea?”
// \{春原}「僕だって、一対一なら引くことはないさ。たとえ、相手がラグビー部だとしてもね」
<158> \{Sunohara}“Even though the rooms surrounding mine all belong to the rugby team….”
// \{春原}「けど、周りは全部ラグビー部の部屋…」
<159> \{Sunohara}“If I cause any, like, trouble over here… things won’t be pretty for me, like….”
// \{春原}「こんな場所で事を起こした日にゃ…分が悪すぎるよ…」
<160> \{Sunohara}“But, well, if it’s just before graduation, it might not be half bad huh.”
// \{春原}「でも、まぁ、卒業間際になったら、派手にやるのもいいね」
<161> \{Sunohara}“When the time comes, \m{A}, you’ve got my back, man.”
// \{春原}「そん時は、\m{A}、僕の背中はおまえに任せるぜっ」
<162> \{\m{B}}“Good! I’ll tag along!”
// \{\m{B}}「ラッキー、ザックリいくな」
<163> \{Sunohara}“DAMN, don’t come! Get away!”
// \{春原}「くるなよっ！いけよっ！」
<164> \{\m{B}}“But I’m on the rugby team’s team, y’see?”
// \{\m{B}}「だって、俺、ラグビー部側だぜ？」
<165> \{Sunohara}“Since when?!”
// \{春原}「いつからだよっ！」
<166> \{\m{B}}“Nope, only when the time comes.”
// \{\m{B}}「いや、そん時だけ」
<167> \{Sunohara}“Okay? Why!?”
// \{春原}「はい！？なんでよっ！？」
<168> \{Sunohara}“What on earth was the past two years we’ve been comrades for?! Eeh’!?”
// \{春原}「共に過ごしてきた僕らの二年間は一体何よっ！ええっ！？」
<169> \size{30}Doon’!\size{}\shake{4} *Boom
// \size{30}どぉんっ！\size{}\shake{4}
<170> The wall shook.
// 壁が揺れた。
<171> Following that, an angry shout was heard: ‘Shut the HELL UP’!’
// 続けざま、『静かにしろぉっ！』と怒鳴り声。
<172> \{Sunohara}“Hii’.”
// \{春原}「ひぃっ」
<173> \{\m{B}}“Kick him back!”
// \{\m{B}}「蹴り返してやろう」
<174> \{Sunohara}“Stop IT’!”
// \{春原}「やめてくれぇっ！」
<175> \{Sunohara}“}“You look really tense, y’know.”
// \{\m{B}}「おまえ、超ビビリな」
<176> \{Sunohara}“You; …look from my perspective here….”
// \{春原}「おまえな…僕の立場に立ってみろよ…」
<177> He’s crying….
// 泣いている…。
<178> \{Sunohara}“I’m begging you, please, really, just please don’t be rowdy.”
// \{春原}「頼むから、ここでは大人しくしててくれ」
<179> \{\m{B}}“Ah, oh….”
// \{\m{B}}「あ、ああ…」
<180> I was taken aback at the intensity of his misery.
// その迫力ある惨めさに気圧されてしまう。
<181> Mogumogu[J]…. *munch munch
// もぐもぐ…
<182> I relaxed myself in the confined space between the ancient kotasu and the wall, and started eating my bento.[3]
// 俺は壁と万年コタツに挟まれた狭い空間に腰を落ち着けて、弁当を食べ始めていた。
<183> \{\m{B}}“Excuse me, tea please.”
// \{\m{B}}「悪い、お茶」
<184> \{Sunohara}“Ain’t got NONE’!”
// \{春原}「出ねーよっ！」
<185> \{\m{B}}“That’s why I said “Excuse me” and “please”, didn’t I?”
// \{\m{B}}「だから悪いって、言ってるじゃん」
<186> \{Sunohara}“Use your brains, I haven’t any tea’!”
// \{春原}「頭下げようが、出ねぇよっ」
<187> \{Sunohara}“Have you mistaken this for a cafeteria or something?”
// \{春原}「おまえ、ここが食堂かなんかと勘違いしてない？」
<188> \{\m{B}}“This is your room. I can tell at least that much.”
// \{\m{B}}「おまえの部屋だろ。わかってるよ」
<189> \{Sunohara}“Yes.”
// \{春原}「ああ」
<190> \{\m{B}}“And that makes you the maid.”
// \{\m{B}}「そして、おまえは、小間使いだ」
<191> \{Sunohara}“You so totally do not get it.”
// \{春原}「ぜんぜんわかってないっすね」
<192> \{\m{B}}“Thanks for the favour then, I forgot to buy some.”
// \{\m{B}}「頼むよ、買い忘れてきたんだよ」
<193> \{Sunohara}“And it hasn't occurred to you that you could just get out to buy some yourself….”
// \{春原}「自分で行くという発想は、浮かばないのかよ…」
<194> \{\m{B}}“But by doing so you are, like say, helping in my life, and as helping me is your duty, there’s no better logic, not?”
// \{\m{B}}「だって、おまえ、俺に命を助けられてからというもの、俺の役に立ちたくて、仕方がなかったんだろ？」
<195> \{Sunohara}“You can never convince me to believe that nonsense.”
// \{春原}「そんな裏設定は隠されていませんっ」
<196> \{\m{B}}“It’s like what you said after you saved me.”
// \{\m{B}}「俺が助けた後、おまえ、言ったじゃん」
<197> \{\m{B}}“During the time, when this person called Sunohara died….”
// \{\m{B}}「春原という男は、あの時死にました…」
<198> \{\m{B}}“What remains now, as a memory of my service to you, is a cup of bitter tea…was what he had said.”
// \{\m{B}}「今ここにいるのは、あなたにお仕えする、ただのお茶くみなのです…てさ」
<199> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<200> \{Sunohara}“Don’t spin grandiose lies!”
// \{春原}「壮大な嘘つくなっ」
<201> \{\m{B}}“Just your last cup will do.”
// \{\m{B}}「じゃあ、最後のお茶でいいから」
<202> \{Sunohara}“There’s no first cup, and never a last!”
// \{春原}「最初も最後もねぇよっ」
<203> \{\m{B}}“No, I’m very touched; you used up all your strength for my request.”
// \{\m{B}}「いや、感動的だぜ。これ聞いたら、おまえは、絶対入れたくなるな」
<204> \{\m{B}}“You suffered a major injury, just to help me.”
// \{\m{B}}「大怪我を負ったおまえは、もう助かりそうもなかった」
<205> \{\m{B}}“And that very you abided my command to collect this tea just for the sake of the thirsting me.”
// \{\m{B}}「そのおまえに、のどが渇いた俺は、お茶くみを命ずる」
<206> \{\m{B}}“Thereupon, you summoned you very last, and, crawling on your knees, poured the tea into the cup.”
// \{\m{B}}「すると、おまえは最後の力を振り絞り、這いつくばりながらも、お茶を入れにいくんだ」
<207> \{\m{B}}“And then….”
// \{\m{B}}「そして…」
<208> \{\m{B}}“\m{A}–sama…here is your tea.”
// \{\m{B}}「\m{A}様…お茶でございます…」
<209> \{\m{B}}“And then, this will be…the last…cup of tea I am making….”
// \{\m{B}}「そして、これが…最後の…お茶となります…」
<210> \{\m{B}}“And when you died, your face was smiling with contentment.”
// \{\m{B}}「死に顔は、笑顔なんだ」
<211> \{Sunohara}“You truly like messing around with me, don’t you!”
// \{春原}「僕、ムチャクチャ本望そうっすね！」
<212> \{\m{B}}“But wasn’t that your wish?”
// \{\m{B}}「それが、おまえの望みなんだって」
<213> \{\m{B}}“And then, I was weeping, as I drank your last cup of tea.”
// \{\m{B}}「そして、俺は泣きながらに、その最後のお茶を飲む」
<214> \{\m{B}}“Ah, it was really very moving.”
// \{\m{B}}「な、感動的だろ」
<215> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<216> \{Sunohara}“Told’ya I haven’t got ANY.”
// \{春原}「出ねぇってのっ」
<217> After that, I and read through one of his magazines.
// それからは、雑誌を読んで、過ごす。
<218> As there was no television, other than chatting and going through magazines, there was no other way of passing time.
// テレビがなかったから、話をするか、本を読む以外に、時間を潰す方法はなかった。
<219> \{Sunohara}“Huaah….”
// \{春原}「ふわ…」
<220> \{Sunohara}“It’s about time. Aren’t you going to sleep?”
// \{春原}「そろそろ、寝ない？」
<221> It was already late; the day was over, and it was late at night.
// すでに日付は変わり、深夜となっていた。
<222> \{\m{B}}“Yes…you’re right.”
// \{\m{B}}「ああ…そうだな」
<223> I didn’t want to sleep in Sunohara’s room.
// 俺は春原の部屋に泊まることだけはしなかった。
<224> The mere thought of waking up beside such a person in the morning was already depressing.
// こんな奴と共に朝を迎えるなんて、想像しただけでも憂鬱になる。
<225> \{Sunohara}“I’m going to take a shower then.”
// \{春原}「じゃ、僕、シャワー浴びてくっから」
<226> \{\m{B}}“Ya.”
// \{\m{B}}「ああ」
<227> From within the pile of clothes by a corner of the room, Sunohara fished out a pair of undergarments and a towel, and proceeded out of the room.
// 部屋の隅で山となっている衣類の中から、下着とタオルを引っ張り出すと、春原は部屋を出ていく。
<228> \{\m{B}}“……….”
// \{\m{B}}「………」
<229> I would really want to avoid facing Sunohara when her returns after his shower.
// シャワーから戻ってきた春原を迎える、という状況もできたら避けたい。
<230> I should be going home just about now.
// 今のうちに帰ることにしよう。
<231> I closed the magazine, and got up.
// 雑誌を閉じて、体を起こす。
<232> Thereupon, I chanced on a radio–cassette player in front of me.
// すると、すぐ正面、一台のラジカセと向き合わせになる。
<233> There was a cassette inserted inside.
// 中にはテープが入ったままになっていた。
<234> I played it.
// 再生してみる。
<235> When the tape started rolling, a hip–hop song that used to be popular long ago could be heard.
// 流れてきたのは、一昔前に流行った、歌謡ヒップホップ。
<236> \m{B} (The hell…)
// \{\m{B}}（ダッサ…）
<237> \m{B} (I’m not listening to this…)
// \{\m{B}}（こんなの聴かねぇだろ…）
<238> Rap over the cassette
// 上書きで何か吹き込む
<239> Give it a pass
// やめておく
<240> K’; I guess I’m going to rap an original instead.
// よし、代わりに俺のオリジナルラップを吹き込んでやろう。
<241> The title is, ‘From me to my best friend, Sunohara, rap’.
// テーマは『俺から、親友春原に捧ぐラップ』だ。
<242> The thought of him choking with emotion came into my mind.
// あいつの感動にむせぶ姿が目に浮かぶ。
<243> \m{B} (Here I go…)
// \{\m{B}}（いくぞ…）
<244> With a deep breath, I pushed the record button.
// 息を大きく吸い込み、録音ボタンを押す。
<245> \{\m{B}}“… YO! YO! Here’s \m{A}! You’re,”
// \{\m{B}}「…YO! YO! オレ\m{A}！オマエはっ」
<246> As the tune went on, I spun out my words.
// テンポよく、言葉を紡ぎ出す。
<247> \{\m{B}}“You’re….”[4]
// \{\m{B}}「オマエは…」
<248> But… I couldn’t think of any words after that.
// が…その先が何も浮かんでこない。
<249> Stop. I sound like an idiot…
// やめた。アホらし…
<250> Say anything relevant that comes to mind.
// 適当に思いついた言葉を発する
<251> \{\m{B}}“A Mongolian chop!”
// \{\m{B}}「モンゴリアンチョップ！」
<252> \{\m{B}}“No, you’ll get a Mongolian Chop”
// \{\m{B}}「いや、オマエに、モンゴリアンチョップ」
<253> \{\m{B}}“Wait, it doesn't make any sense no matter how I say it….”
// \{\m{B}}「って、どちらにしても意味不明だな…」
<254> \{\m{B}}“Evolved above shore into the WuperRuper!”
// \{\m{B}}「陸に上がって進化を遂げたウーパールーパー！」
<255> \{\m{B}}“Hmm…? I said it as a joke, but it somehow turned out sounding serious….”
// \{\m{B}}「あれ…？冗談で言ったのに、なんだかマジでそう思えてきたぞ…」
<256> \{\m{B}}“……….”
// \{\m{B}}「………」
<257> \{\m{B}}“You’re…WuperRuper?”
// \{\m{B}}「おまえ…ウーパールーパー？」
<258> \{\m{B}}“Made–In–China!”
// \{\m{B}}「メイド・イン・チャイナ！」
<259> \{\m{B}}“Mass produced by China.”
// \{\m{B}}「中国で大量生産されてんだ」
<260> \{\m{B}}“With innards!”
// \{\m{B}}「って、キモッ！」
<261> \{\m{B}}“Cock–a–doodle–doo–!”
// \{\m{B}}「クックドゥードゥルドゥー！」
<262> \{\m{B}}“Uwah, I have no idea what I am talking about ~! Hahahaha!”
// \{\m{B}}「うわ、俺ひとりで何言ってんだろ、わっけわかんね～！はははは！」
<263> \{\m{B}}“Aotenagahukurooosunoharamodoki!”
// \{\m{B}}「アオテナガフクロオオスノハラモドキ！」
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”[5]
// \{\m{B}}「青くて手が長くて袋を持ってて大きい春原のモドキなんだ」
<265> \{\m{B}}“Wait, imitation clay figure isn’t as frightening as original!/p Hey, what if I meddled with it?””
// \{\m{B}}「って、モドキじゃないオリジナルで十分怖ぇよっ！\pってツッコミたくならんか？」
<266> \{\m{B}}“Have a topknot hairstyle!”[6]
// \{\m{B}}「ちょんまげ！」
<267> \{\m{B}}“Nay, Sunohara doesn’t have a topknot hairstyle….”
// \{\m{B}}「いや、ちょんまげじゃねぇし…」
<268> \{\m{B}}“Then this rap would be one huge lie….”
// \{\m{B}}「じゃ、このラップ嘘になるじゃん…」
<269> \{\m{B}}“Sunohara, my bad, go get a topknot hairstyle.”
// \{\m{B}}「春原、わりぃ、ちょんまげにしてくれ」
<270> \{\m{B}}“Hpfuu’….”
// \{\m{B}}「ぷっ…」
<271> \{\m{B}}“Crap, I laughed before I could say the words.”
// \{\m{B}}「やべ、言う前に自分で笑っちまった」
<272> \m{B} (… forget it. I sound like an idiot…)
// \{\m{B}}（…やめた。アホらし…）
<273> \{\m{B}}“… forget it. I sound like an idiot….”
// \{\m{B}}「…やめた。アホらし…」
<274> I hit it in frustration.
// 速攻で挫折する。
<275> What’s my problem, doing such stuff for his sake?
// どうして、あいつのためにこんなことをしてやらなくちゃいけないんだ。
<276> In the first place, you couldn’t call our relationship close.
// そもそも、親友なんて呼べるほどの間柄でもないじゃないか。
<277> \m{B} (Gotta hurry home…)
// \{\m{B}}（とっとと、帰ろう…）
<278> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
<279> For once, I left his room as is, even though the day did ended without me completing anything….
// かつて、俺をひとり部屋に放置して、何事もなく終わったことはないのだが…
<280> I’ll spare him for today, huh.
// 今日のところは許しておいてやるか。
<281> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
</pre>
</div>

=== Notes ===
[1]
<43> \{Girl}“Do you like this school?”
*can also be translated as: \{Girl}“Do I like this school?”.

[2]
<110> I head for a bento[J] vendor, and then buy a bento for my dinner.
*A bento is a Japanese box filled with food.

[3]
<182> I relaxed myself in the confined space between the ancient kotasu[J] and the wall, and started eating my bento.
*A kotasu is a table with a heater underneath.

[4]
<247> \{\m{B}}“You’re…”
*Is translated as \{\m{B}}“You…” in several versions of the next line in the rap.

[5]
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”
*Blue hands held a long bag, with an imitation Sunohara clay figure.

[6]
<266> \{\m{B}}“Have a topknot hairstyle!”
*Is a hairstyle popular in ancient Japan; http://en.wikipedia.org/wiki/Chonmage

== Alternative translation ==
I wish to post my translation to be used as additional materials to edit with, but it's in the wrong format (and thus cannot be used as a preview), and I do not know where to post it.[[User:Jc100|Jc100]] 04:38, 6 February 2007 (PST)

I suggest using this page and use the clannadbox div tags:
<pre><div class="clannadbox">
<pre>
insert text here
</pre>
</div></pre>

-- [[User:Velocity7|velocity7]], 7:56 AM EST February 6, 2006

Actually, I meant that my translation was not in the SEEN format, I extracted it out for ease. I'll post mine for comparison though.[[User:Jc100|Jc100]] 19:15, 9 February 2007 (PST)

Since V7 didn't give me any specific instructions, I would be taking some liberal liberties with the editing of the text here, especially with tenses.

Forgive me if I make some errors here and there as I can't read Japanese, and am fairly new to this editing business. Please bring to light anything that is really supposed "to be like that".

p.s@velocity7: Bicube sends you a punch.

--[[User:Umiman|umiman]] 18:36, 12 February 2007 (PST)

Can someone look over lines 0088 - 0092.

It doesn't really seem to make sense how his father was depressed before the accident, and depressed again after the accident.

Also, there are issues with lines 0114 - 0115.

--[[User:Umiman|umiman]] 19:06, 13 February 2007 (PST)

This was the original translation I made, does this sounds better?
******
Line 0114: They are totally different from me who has no dream at all.
Line 0115: I couldn't care less though, and also in this place... lives Sunohara.

******
About 0088 - 0092: Tomoya's father was depressed when he lost his wife, and made him waste his time by drinking alcohol and gambling. But one day, Tomoya and his father had a fight that end up injuring Tomoya, after that, his father locked up his feelings (maybe pretend to lock his feelings) towards Tomoya and started calling his name with a -kun attached to it.--[[User:DGreater1|DGreater1]] 19:37, 16 February 2007 (Phillipine time)

:@Uniman. See if the way my translation phrases it better. Feel free to 'assimilate' some of my lines to the main text file, or use your own if you have a new perspective on hhow to phrase them. But make sure to change the ellipse characters into sets of three periods, and the open and close quotation marks into just plain quotation marks as per the guidelines.

:--[[User:Jc100|Jc100]] 23:13, 18 February 2007 (PST)

******
Sorry for the long delay in reading this. Sick for quite awhile and had a lot of projects to do:

Line 0114: Reworked the sentence to fit.

Line 0115: I suggest using JC100's translation for this. I also suggest using Jc's translation for lines 0088 to 0092 as well.

From what I can see, DGreater1 and JC100 have quite contrasting translation styles. DGreater seems to focus more on faithfulness to the original text while JC100 is more keen on making it sound nice in English.

I might be wrong though, but I'll suggest the times when it might be better to switch between the two.

p.s: This is mostly a rough go-through. It's hard reading two translations at once, so please bear with me :).

--[[User:Umiman|umiman]] 22:29, 4 March 2007 (PST)
=== SEEN0414 and SEEN0415 Line Consistency ===
<pre>
****************************************
SEEN0414 Original
****************************************
<0047> Probably wondering what her boyfriend (or girlfriend) would say.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<0048> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0049> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0050> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0051> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0052> With great difficulty, she continues to speak.
****************************************
SEEN0415 Original
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really really like this school." // same with line 0048 from SEEN0414
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, there might be nothing here that will never change." // same with line 0049 from SEEN0414
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Enjoyable things and happy things, all of them." // same with line 0050 from SEEN0414
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "All of them will change."
// \{女の子} 「ぜんぶ、変わらずにはいられないです…」// same with line 0051 from SEEN0414
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
****************************************
SEEN0415 With the lines from SEEN0414
****************************************
<0456> I heard this line before. But this time, she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "And then, you'll end up not liking this place anymore?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
// 最後の言葉は俺が言っていた。
</pre>

What I mean is, is line 459-463 enough to make Tomoya think about ''"And then, you'll end up not liking this place anymore?"?''
Line 459-463 seems to be missing some context which makes Tomoya's line '''"And then, you'll end up not liking this place anymore?"''' quite confusing

I'll try to put type it in like a book novel to make more sense...

She said, "I really, really do... But nothing... can remain the same."<br>
"Even fun things and happy things... Nothing stays that way forever."<br>
"And then, you'll end up not liking this place anymore?" Tomoya blurted... <br>
"That's right." she replied.<br>
<br>
She said, "I really really like this school... But, there might be nothing here that will never change."<br>
"Enjoyable things and happy things, all of them... All of them will change."<br>
"And then, you'll end up not liking this place anymore?" Tomoya blurted... <br>
"That's right." she replied.<br>

You see the difference with the lines? The first group of sentence is emphasizing that nothing stays the same forever, while the second group is emphasizing that there might be nothing there that will ever change. The lost of context makes the first group sound like Tomoya just blurted out the sentence '''"And then, you'll end up not liking this place anymore?"''' without reason. ''Nothing stays that way forever'' and Tomoya's line doesn't seem to connect properly too. Compared to ''"All of them will change, and then you'll end up not liking this place anymore."''

Talk:Clannad:SEEN1009

2007-04-22T04:32:13Z

Dgreater1: SEEN1009 Small animal thing

== SEEN1009 Talk ==
=== About 小動物の威嚇。 in Line 0066 ===
About 小動物の威嚇。 It's an animal intimidating something. The word 威嚇 (intimidation) is a noun that works as an adverb that describes the 小動物 (small animal). Small animal+intimidation mode (''just like a small cat being cornered'', it will try to intimidate those who try to touch it or capture it.) --[[User:Dgreater1|Dgreater1]] 21:32, 21 April 2007 (PDT)

Talk:Clannad:SEEN0414

2007-04-21T19:46:31Z

Dgreater1: Minor Edit

== Alt. Translation Post ==

<div class="clannadbox">
<pre>
// Resources for SEEN0414.TXT

#character '＊Ｂ'
//#character '＊Ｂ'
#character 'Voice'
//#character '声'
#character 'Girl'
//#character '女の子'
#character 'Teacher'
//#character '教師'
#character 'Sunohara'
//#character '春原'
#character 'Young Man'
//#character '男子'

<0> I hate this town.
// この町は嫌いだ。
<1> It’s because there are places stained with memories that I wish to forget.
// 忘れたい思い出が染みついた場所だから。
<2> Going to school every day, attending lessons every day, chatting with friends every day, and then returning to the house that I do not wish to return, every day.
// 毎日学校に通い、授業を受け、友達とだべり、そして帰りたくもない家に帰る。
<3> Nothing new, or the like, ever occurs.
// 何も新しいことなど始まらない。
<4> \m{B} (With this routine carrying on, I wonder if anything has actually changed….)
// \{\m{B}}（こうしていて、何かが変わるんだろうか…）
<5> \m{B} (When will my life ever change…?)
// \{\m{B}}（俺の生活は、いつか変わるんだろうか….）
<6> A town separated all over by rampant greenery.
// やたらと自然が多い町。
<7> Having to detour around mountains to attend school.
// 山を迂回しての登校。
<8> If only I could cut through all the mountains, how much easier it would probably have been.
// すべての山を切り開けば、どれだけ楽に登校できるだろうか。
<9> If I walked in a straight line, I would then be able to shave off about 20 minutes.
// 直線距離を取れば、２０分ぐらいは短縮できそうだった。
<10> \m{B} (One day, 20 minutes….)
// \{\m{B}}（一日、２０分…）
<11> \m{B} (And thus, in a year, roughly how much time will I be able to gain?)
// \{\m{B}}（すると、一年でどれぐらい、俺は時間を得することになるんだ….）
<12> I do the mathematics while walking.
// 計算しながら、歩く。
<13> \m{B} (Aah, hell, I have totally no idea….)
// \{\m{B}}（ああ、よくわかんねぇ…）
<14> I see nobody nearby who appears to be a schoolmate.
// 辺りに同校の生徒の姿はない。
<15> As this is the main street that leads to school, it should essentially be flourishing with pupils.
// 学校に続く大通りだから、本来、生徒で賑わっているはずだった。
<16> Today is not a holiday or anything.
// 今日が、休日というわけでもない。
<17> In other words…this is not the time when a student ought to attend school; and thus is the situation now.
// つまりは…生徒が登校すべき時間ではない、ということ。
<18> But, despite appearing to have a cannot–be–bothered attitude from a spectator’s perspective, I did not hurry, and continued with my easygoing pace.
// けど、そんな閑散とした光景を目の当たりにしても俺は焦ることなく、悠長に歩き続けた。
<19> ……….
// ………。
<20> 200 meters left to the school gate.
// 校門まで残り２００メートル。
<21> I stop for a moment, out of breath.
// 一度立ち尽くす。
<22> \{\m{B}}“Haa.”
// \{\m{B}}「はぁ」
<23> And sigh, simultaneously looking towards the sky.
// ため息と共に空を仰ぐ。
<24> The destination was the school gate.
// その先に校門はあった。
<25> Whose choice has it been, to lay the gate at such a place?
// 誰が好んで、あんな場所に校門を据えたのか。
<26> The long sloping path extended high up, like those in nightmarish dreams.
// 長い坂道が、悪夢のように延びていた。
<27> \{Voice}“Haa.”
// \{声}「はぁ」
<28> An other, different sigh. Smaller and shorter than mine.
// 別のため息。俺のよりかは小さく、短かかった。
<29> I looked beside me.
// 隣を見てみる。
<30> There, standing exhausted like I, was a female student.
// そこに同じように立ち尽くす女生徒がいた。
<31> From the colour of her school badge, I could tell she was another third–year student.
// 校章の色から、同じ三年生だとわかる。
<32> However, her face is not familiar.
// けど、見慣れない顔だった。
<33> Her short hair that ended by her shoulders flutters in the wind.
// 短い髪が、肩のすぐ上で風にそよいでいる。
<34> Female child “……….”
// \{女の子}「………」
<35> A face that appeared to be on the verge of tears.
// 今にも泣きだしそうな顔だった。
<36> I was somewhat of a habitual latecomer and thus have no qualms about coming late today, but with a diligent girl like her…
// 俺なんかは常習犯だったからなんとも思わないが、真面目な奴なのだろう…
<37> Going into class now by herself must be somewhat tough.
// この時間にひとり教室に入っていくことに抵抗があるのだ。
<38> \{Girl}“Yes, yes….”
// \{女の子}「うんうん…」
<39> She appeared to be whispering something to herself, with her eyes closed, and nodding from moment to moment.
// 何かを自分に言い聞かせるように、目を瞑って、こくこくと頷いている。
<40> Female Child “……….”
// \{女の子}「………」
<41> And then, she opened her eyes.
// そして少女は目を見開く。
<42> Ji–tto[J], fixed her eyes on the school gate, high above.
// じっと、高みにある校門を見つめた。
<43> \{Girl}“Do you like this school?”[1]
// \{女の子}「この学校は、好きですか」
<44> \{\m{B}}“Eh…?”
// \{\m{B}}「え…？」
<45> No, she was not asking me.
// いや、俺に訊いているのではなかった。
<46> The question was posed for a person existing in her imagination.
// 妄想の中の誰かに問いかけているのだ。
<47> I do wonder how that guy (or possibly female) may answer.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<48> \{Girl}“I like this school very, very much.”
// \{女の子}「わたしはとってもとっても好きです」
<49> \{Girl}“But, just about everything… I am unable to change along with.”
// \{女の子}「でも、なにもかも…変わらずにはいられないです」
<50> \{Girl}“Like those that are fun, like those that fill with joy, all of them.”
// \{女の子}「楽しいこととか、うれしいこととか、ぜんぶ」
<51> \{Girl}“All of them, I am unable to change along with.”
// \{女の子}「ぜんぶ、変わらずにはいられないです」
<52> With apparent difficulty, her conversation continued.
// たどたどしく話し続ける。
<53> \{Girl}“Even then, do I still like this place?”
// \{女の子}「それでも、この場所が好きでいられますか」
<54> ……….
// ………。
<55> \{Girl}“I….”
// \{女の子}「わたしは…」
<56> \{\m{B}}“Why don’t you try looking for them?”
// \{\m{B}}「見つければいいだけだろ」
<57> \{Girl}“Eh’…?”
// \{女の子}「えっ…？」
<58> Surprised, the girl looked towards my face.
// 少女が驚いて、俺の顔を見る。
<59> It seemed as though she had completely believed that there had not been anybody around.
// まるで、今まで誰もいないと信じていたかのようにだ。
<60> \{\m{B}}“Looking for other fun and happy things will solve the problem, won’t it?”
// \{\m{B}}「次の楽しいこととか、うれしいことを見つければいいだけだろ」
<61> \{\m{B}}“Do you have only one fun and happy activity? That’s not so, right?”
// \{\m{B}}「あんたの楽しいことや、うれしいことはひとつだけなのか？違うだろ」
<62> \{Girl}“……….”
// \{女の子}「………」
<63> Yes.
// そう。
<64> Times when we were pure and did not know anything.
// 何も知らなかった無垢な頃。
<65> Everybody has had a time like that.
// 誰にでもある。
<66> \{\m{B}}“Come on, let’s go.”
// \{\m{B}}「ほら、いこうぜ」
<67> April 14th (Monday)
// ４月１４日(月)
<68> \{Teacher}“Sunohara[J].”
// \{教師}「春原（すのはら）」
<69> The teacher called out the name of a student.
// 教師があるひとりの生徒の名を口にした。
<70> \{Teacher}“Absent, as usual.”
// \{教師}「相変わらずいないのか」
<71> I looked beside. Over there was Sunohara’s seat.
// 隣を見る。そこが春原の席だった。
<72> His attendance was worse than mine.
// こいつの遅刻率は俺より高い。
<73> Together, we are the only ones labelled as delinquents in the class.
// ふたり合わせてクラスの不良生徒として名指しされることが多かった。
<74> Maybe it’s because of that that we get along well.
// だからだろう、よく気が合う。
<75> Thus, among the class’s students, we can only chat with each other casually.
// そして、クラスの中で、唯一俺が心を許して話すことのできる人間だった。
<76> The lesson starts.
// 授業が始まる。
<77> I looked out of the window.
// 俺は窓の外を見て過ごした。
<78> The teacher’s words never made it past my ear.
// 教師の声はすべて聞き流して。
<79> A day’s worth of lessons has ended; it is now after class.
// 一日の授業を終え、放課後に。
<80> Even till the last moment, that Sunohara never came.
// 春原の奴は最後までこなかった。
<81> In the end, the only person whom I talked with today was that girl from this morning.
// 結局、今日俺が話をしたのは、朝に出会った女生徒だけだった。
<82> An everyday that truly never changes for the better.
// 実に代わり映えしない毎日。
<83> As I had not joined any club, I grabbed my empty bag and left the classroom; avoiding the jabbering students.
// 部活にも入っていない俺は、空っぽの鞄を掴むと、だべる生徒の合間を抜けて、教室を後にした。
<84> Even if I headed for home, there will not be anyone at this time of day.
// 家に帰っても、この時間は誰もいない。
<85> To start with, I did not have a mother anymore.
// もとより母親はいなかった。
<86> She died in a traffic accident when I was young; I don’t even remember her face.
// 俺が小さい頃に、交通事故で亡くなったそうだ。顔すら覚えていなかった。
<87> Maybe it was because of the shock of losing my mother… left behind, my father rotted away.
// 母を亡くしたショックでだろうか…残された父は堕落していった。
<88> He drank without end; he ruined his life by spending his free time of gambling.
// アルコールを絶やすことなく飲み続け、賭け事で暇を潰す生活。
<89> My youth was spent arguing with my father to fill the emptiness in our hearts.
// 少年時代の俺の暮らしは、そんな父との言い争いにより埋め尽くされた。
<90> But because of an incident, our relationship changed.
// けど、ある事件をきっかけにその関係も変わってしまった。
<91> He exhibited violence; I suffered an injury.
// 俺に暴力を振るい、怪我を負わせたのだ。
<92> Ever since that day, my father did not show any emotion.
// その日以来、父親は感情を表に出さないようになった。
<93> Furthermore, he never calls me by name; addressing me as ‘\m{B}–kun’, like an unrelated person.
// そして、俺の名を昔のように呼び捨てではなく、『\m{B}くん』とくん付けで呼び、言動に他人行儀を感じさせるようになった。
<94> As expected, I was in the process of joining the ranks of an outsider.
// それはまさしく、他人同士になっていく過程だった。
<95> It was as though a shell had shut us off to each other entirely, so to speak.
// まるで殻に閉じこもっていくように。
<96> It was as though we had wanted to sever all connections of the past from the present.
// 今と過去との接点を断ち切るように。
<97> It was a relief that we had rejected each other.
// 突き放すならまだ、よかったのに。
<98> Even though I was wounded, I was saved from the constant arguing.
// 傷つけてくれるなら、まだ救われたのに。
<99> In spite of that, when he notices that I had arrived home, he rejoices as though I am a visiting old friend…and proceeds to gossip.
// なのに父は学校から帰ってきた俺の姿を見つけると、まるで旧友が訪れたように喜んで…そして世間話を始めるのだ。
<100> My chest fills with hurt; I do not wanted to recollect.
// 胸が痛くなって、居たたまれなくなって…
<101> I ran out of the house.
// 俺は家を飛び出すのだ。
<102> Not wanting to see his face, it became a daily routine for me to not return home till late at night, when my father was asleep.
// だから顔を合わせないよう、親父の寝入る深夜になるまで家には戻らない生活をずっと続けていた。
<103> Because I go to bed in the wee hours of dawn, it is usually noon when I wake.
// 明け方に寝るから、目覚めるのは昼近く。
<104> Ever since I started high school, I was late just about every day.
// 高校に入ってからの俺は、毎日のように遅刻だった。
<105> That sort of life has continued for three years.
// そんな生活を続けて三年近くになる。
<106> As usual, I just put on my uniform, and rush out of the house before my father had a chance to return.
// 今日も制服だけ着替えて、親父が帰ってくる前に折り返し家を出る。
<107> Such was my health depriving routine.
// それが体に染みついた日常だった。
<108> I wander about the town during night.
// 夜の町をうろつく。
<109> My final destination is always the same.
// 最後に行き着く場所はいつも同じだ。
<110> I head for a bento vendor, and then buy a bento for my dinner.[2]
// 行きがけにある弁当屋で、夕飯となる弁当を買い求めた後…
<111> With that in my hand, I head for the student dormitories by the foot of the hill on which my school was located.
// それを手に、学校の坂下に建つ学生寮へ。
<112> Our school particularly stresses on club activities, thus we get many students from the area.
// うちの学校は特に部活動に力を入れているため、地方から入学してくる生徒も多い。
<113> These students leave their parents and home. Instead, they spend three years here.
// そんな生徒たちは親元を離れて、ここで三年間を過ごすことになるのだ。
<114> Totally unlike me; unlike I who have no goals for my student career.
// 俺のような学生生活に夢も持たない人間とはまったく違う人種。
<115> I am not concerned with meeting any of these people, but that guy… Sunohara resides here.
// 関わり合いになることもなかったが、こんな場所にあいつ…春原は住んでいるのだ。
<116> Sunohara was originally from the soccer team; he was one who was recommended this school for its sports.
// 春原は元サッカー部で、この学校にも、スポーツ推薦で入学してきた人間だ。
<117> But during his first year, he got into a large fight with students from another school and was suspended. And he stopped being a regular member.
// しかし一年生の時に他校の生徒と大喧嘩をやらかし停学処分を受け、レギュラーから外された。
<118> After the recruitment for new members ended the next year, he no longer had any place in the club.
// そして新人戦が終わる頃には、あいつの居場所は部にはなかった。
<119> He could only quit.
// 退部するしかなかったのだ。
<120> After that, he did not have the money to change lodgings, he thus continued living at the dorms for members of sports teams.
// その後も別の下宿に移り住む金銭的余裕もなく、この体育会系の学生が集まる学生寮に身を置き続けているのだ。
<121> \{Voice}“How many times do I have to repeat myself to make you understand, huh?”
// \{声}「何度言えばわかるんだよっ」
<122> \{Sunohara}“But it’s already all totally soft.”
// \{春原}「でも、すげぇ小さい音だったっての」
<123> Sunohara’s there.
// 春原がいた。
<124> He was talking to a gargantuan male with an awkward build outside someone else’s room.
// 別の部屋の前で、やたら図体のでかい男子生徒と話をしていた。
<125> \{Young Man}“Even if it’s all totally soft, the thin walls will leak sound!”
// \{男子}「すげぇ小さい音でも、壁が薄いから響くんだよっ！」
<126> \{Young Man}“Use the damn headphones!”
// \{男子}「ヘッドホンで聴けよっ」
<127> \{Sunohara}“I don’t hav’ such high–grade equipment, haha.”
// \{春原}「んな高級なもんねぇって、ははっ」
<128> \{Young Man}“Then don’t listen at all!”
// \{男子}「じゃあ、聴くなっ」
<129> \{Sunohara}“Nay, if I don’t listen I won’t feel in the mood, huh.”
// \{春原}「いや、でも、あれ聴かないと、調子出ないんだよね」
<130> \{Sunohara}“Furthermore, it’s a splendid, cool song huh?”
// \{春原}「それに、結構、イカす音楽だと思うんだよね」
<131> \{Young Man}“……….”
// \{男子}「………」
<132> \{Sunohara}“Why don’t you try listening to the lyrics this time huh? They’re great.”
// \{春原}「今度、歌詞とかちゃんと聴いてみてよ、イカしてるから」
<133> \{Young Man}“There’s nothing remotely cool about it….”
// \{男子}「イカしてるも何もねぇ…」
<134> \{Young Man}“You’re making me seriously PISSED!”
// \{男子}「こっちは、むかついてんだよぉっっ！」
<135> \{Young Man}“The next time I hear that, I’ll kick you out!”
// \{男子}「次聞こえてきたら、叩き出すぞっ！」
<136> Batan’[J]!\shake{4} *Bam
// バタンッ！\shake{4}
<137> \{Sunohara}“Hii!”
// \{春原}「ひぃっ！」
<138> \{Sunohara}“……….”
// \{春原}「………」
<139> In front of the shut door, Sunohara stood with his head looking down.
// 閉ざされたドアの前で、うなだれる春原。
<140> \{Sunohara}“Damn…fucking rugby bastard….”
// \{春原}「くそぅ…ラグビー部め…」
<141> He mumbled softly.
// そう小さく呟いた。
<142> \{\m{B}}“With that voice, they wouldn’t be able to hear, y’know.”
// \{\m{B}}「んな声じゃ、聞こえないだろ」
<143> \{\m{B}}“\size{30}DAMN! FUCKING RUGBY BASTARRD–’! \size{}”
// \{\m{B}}「\size{30}くそぅ！ラグビー部めえぇぇぇーっ！\size{}」
<144> Standing behind him, I shout out his comment.
// その背後に立ち、大きな声で言い直してやる。
<145> \{Sunohara}“Hiii’!”
// \{春原}「ひぃぃっ！」
<146> He engaged me in a headlock and dragged me into his room.
// 春原は俺の頭を抱えると、自分の部屋へと引きずり込む。
<147> Down the corridor, an angry reply came: ‘WHO WAS THAT JUST NOW?!’
// 廊下では、『今の誰だぁっ！』と怒声が響いていた。
<148> \{Sunohara}“Haa…haa….”
// \{春原}「はぁ…はぁ…」
<149> \{Sunohara}“Were you trying to get me killed’?!”
// \{春原}「僕を殺す気かっ！」
<150> \{\m{B}}“Wasn’t it you who first said that?”
// \{\m{B}}「おまえが言ったんじゃないかよ」
<151> \{Sunohara}“Ahem, excuse me, \m{A}….”
// \{春原}「あのさ、\m{A}…」
<152> \{Sunohara}“Even at the best of times, I don’t get along well with the guys over here, you know ….”
// \{春原}「ただでさえ、ここのところ、連中との関係が穏やかじゃなくなってるんだからさ…」
<153> \{\m{B}}“Show them who’s the boss man.”
// \{\m{B}}「派手に散ろうぜ」
<154> \{Sunohara}“I have one more year left, you know that?!”
// \{春原}「後、一年残ってるよっ！」
<155> \{\m{B}}“And so you intend to live in fear.”
// \{\m{B}}「おまえ、そうやって、ビクビク暮らしてくのな」
<156> \{Sunohara}“Hey….”
// \{春原}「あのね…」
<157> \{Sunohara}“I couldn’t even take them on one–to–one. For one, the opponents are all rugby guys, yea?”
// \{春原}「僕だって、一対一なら引くことはないさ。たとえ、相手がラグビー部だとしてもね」
<158> \{Sunohara}“Even though the rooms surrounding mine all belong to the rugby team….”
// \{春原}「けど、周りは全部ラグビー部の部屋…」
<159> \{Sunohara}“If I cause any, like, trouble over here… things won’t be pretty for me, like….”
// \{春原}「こんな場所で事を起こした日にゃ…分が悪すぎるよ…」
<160> \{Sunohara}“But, well, if it’s just before graduation, it might not be half bad huh.”
// \{春原}「でも、まぁ、卒業間際になったら、派手にやるのもいいね」
<161> \{Sunohara}“When the time comes, \m{A}, you’ve got my back, man.”
// \{春原}「そん時は、\m{A}、僕の背中はおまえに任せるぜっ」
<162> \{\m{B}}“Good! I’ll tag along!”
// \{\m{B}}「ラッキー、ザックリいくな」
<163> \{Sunohara}“DAMN, don’t come! Get away!”
// \{春原}「くるなよっ！いけよっ！」
<164> \{\m{B}}“But I’m on the rugby team’s team, y’see?”
// \{\m{B}}「だって、俺、ラグビー部側だぜ？」
<165> \{Sunohara}“Since when?!”
// \{春原}「いつからだよっ！」
<166> \{\m{B}}“Nope, only when the time comes.”
// \{\m{B}}「いや、そん時だけ」
<167> \{Sunohara}“Okay? Why!?”
// \{春原}「はい！？なんでよっ！？」
<168> \{Sunohara}“What on earth was the past two years we’ve been comrades for?! Eeh’!?”
// \{春原}「共に過ごしてきた僕らの二年間は一体何よっ！ええっ！？」
<169> \size{30}Doon’!\size{}\shake{4} *Boom
// \size{30}どぉんっ！\size{}\shake{4}
<170> The wall shook.
// 壁が揺れた。
<171> Following that, an angry shout was heard: ‘Shut the HELL UP’!’
// 続けざま、『静かにしろぉっ！』と怒鳴り声。
<172> \{Sunohara}“Hii’.”
// \{春原}「ひぃっ」
<173> \{\m{B}}“Kick him back!”
// \{\m{B}}「蹴り返してやろう」
<174> \{Sunohara}“Stop IT’!”
// \{春原}「やめてくれぇっ！」
<175> \{Sunohara}“}“You look really tense, y’know.”
// \{\m{B}}「おまえ、超ビビリな」
<176> \{Sunohara}“You; …look from my perspective here….”
// \{春原}「おまえな…僕の立場に立ってみろよ…」
<177> He’s crying….
// 泣いている…。
<178> \{Sunohara}“I’m begging you, please, really, just please don’t be rowdy.”
// \{春原}「頼むから、ここでは大人しくしててくれ」
<179> \{\m{B}}“Ah, oh….”
// \{\m{B}}「あ、ああ…」
<180> I was taken aback at the intensity of his misery.
// その迫力ある惨めさに気圧されてしまう。
<181> Mogumogu[J]…. *munch munch
// もぐもぐ…
<182> I relaxed myself in the confined space between the ancient kotasu and the wall, and started eating my bento.[3]
// 俺は壁と万年コタツに挟まれた狭い空間に腰を落ち着けて、弁当を食べ始めていた。
<183> \{\m{B}}“Excuse me, tea please.”
// \{\m{B}}「悪い、お茶」
<184> \{Sunohara}“Ain’t got NONE’!”
// \{春原}「出ねーよっ！」
<185> \{\m{B}}“That’s why I said “Excuse me” and “please”, didn’t I?”
// \{\m{B}}「だから悪いって、言ってるじゃん」
<186> \{Sunohara}“Use your brains, I haven’t any tea’!”
// \{春原}「頭下げようが、出ねぇよっ」
<187> \{Sunohara}“Have you mistaken this for a cafeteria or something?”
// \{春原}「おまえ、ここが食堂かなんかと勘違いしてない？」
<188> \{\m{B}}“This is your room. I can tell at least that much.”
// \{\m{B}}「おまえの部屋だろ。わかってるよ」
<189> \{Sunohara}“Yes.”
// \{春原}「ああ」
<190> \{\m{B}}“And that makes you the maid.”
// \{\m{B}}「そして、おまえは、小間使いだ」
<191> \{Sunohara}“You so totally do not get it.”
// \{春原}「ぜんぜんわかってないっすね」
<192> \{\m{B}}“Thanks for the favour then, I forgot to buy some.”
// \{\m{B}}「頼むよ、買い忘れてきたんだよ」
<193> \{Sunohara}“And it hasn't occurred to you that you could just get out to buy some yourself….”
// \{春原}「自分で行くという発想は、浮かばないのかよ…」
<194> \{\m{B}}“But by doing so you are, like say, helping in my life, and as helping me is your duty, there’s no better logic, not?”
// \{\m{B}}「だって、おまえ、俺に命を助けられてからというもの、俺の役に立ちたくて、仕方がなかったんだろ？」
<195> \{Sunohara}“You can never convince me to believe that nonsense.”
// \{春原}「そんな裏設定は隠されていませんっ」
<196> \{\m{B}}“It’s like what you said after you saved me.”
// \{\m{B}}「俺が助けた後、おまえ、言ったじゃん」
<197> \{\m{B}}“During the time, when this person called Sunohara died….”
// \{\m{B}}「春原という男は、あの時死にました…」
<198> \{\m{B}}“What remains now, as a memory of my service to you, is a cup of bitter tea…was what he had said.”
// \{\m{B}}「今ここにいるのは、あなたにお仕えする、ただのお茶くみなのです…てさ」
<199> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<200> \{Sunohara}“Don’t spin grandiose lies!”
// \{春原}「壮大な嘘つくなっ」
<201> \{\m{B}}“Just your last cup will do.”
// \{\m{B}}「じゃあ、最後のお茶でいいから」
<202> \{Sunohara}“There’s no first cup, and never a last!”
// \{春原}「最初も最後もねぇよっ」
<203> \{\m{B}}“No, I’m very touched; you used up all your strength for my request.”
// \{\m{B}}「いや、感動的だぜ。これ聞いたら、おまえは、絶対入れたくなるな」
<204> \{\m{B}}“You suffered a major injury, just to help me.”
// \{\m{B}}「大怪我を負ったおまえは、もう助かりそうもなかった」
<205> \{\m{B}}“And that very you abided my command to collect this tea just for the sake of the thirsting me.”
// \{\m{B}}「そのおまえに、のどが渇いた俺は、お茶くみを命ずる」
<206> \{\m{B}}“Thereupon, you summoned you very last, and, crawling on your knees, poured the tea into the cup.”
// \{\m{B}}「すると、おまえは最後の力を振り絞り、這いつくばりながらも、お茶を入れにいくんだ」
<207> \{\m{B}}“And then….”
// \{\m{B}}「そして…」
<208> \{\m{B}}“\m{A}–sama…here is your tea.”
// \{\m{B}}「\m{A}様…お茶でございます…」
<209> \{\m{B}}“And then, this will be…the last…cup of tea I am making….”
// \{\m{B}}「そして、これが…最後の…お茶となります…」
<210> \{\m{B}}“And when you died, your face was smiling with contentment.”
// \{\m{B}}「死に顔は、笑顔なんだ」
<211> \{Sunohara}“You truly like messing around with me, don’t you!”
// \{春原}「僕、ムチャクチャ本望そうっすね！」
<212> \{\m{B}}“But wasn’t that your wish?”
// \{\m{B}}「それが、おまえの望みなんだって」
<213> \{\m{B}}“And then, I was weeping, as I drank your last cup of tea.”
// \{\m{B}}「そして、俺は泣きながらに、その最後のお茶を飲む」
<214> \{\m{B}}“Ah, it was really very moving.”
// \{\m{B}}「な、感動的だろ」
<215> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<216> \{Sunohara}“Told’ya I haven’t got ANY.”
// \{春原}「出ねぇってのっ」
<217> After that, I and read through one of his magazines.
// それからは、雑誌を読んで、過ごす。
<218> As there was no television, other than chatting and going through magazines, there was no other way of passing time.
// テレビがなかったから、話をするか、本を読む以外に、時間を潰す方法はなかった。
<219> \{Sunohara}“Huaah….”
// \{春原}「ふわ…」
<220> \{Sunohara}“It’s about time. Aren’t you going to sleep?”
// \{春原}「そろそろ、寝ない？」
<221> It was already late; the day was over, and it was late at night.
// すでに日付は変わり、深夜となっていた。
<222> \{\m{B}}“Yes…you’re right.”
// \{\m{B}}「ああ…そうだな」
<223> I didn’t want to sleep in Sunohara’s room.
// 俺は春原の部屋に泊まることだけはしなかった。
<224> The mere thought of waking up beside such a person in the morning was already depressing.
// こんな奴と共に朝を迎えるなんて、想像しただけでも憂鬱になる。
<225> \{Sunohara}“I’m going to take a shower then.”
// \{春原}「じゃ、僕、シャワー浴びてくっから」
<226> \{\m{B}}“Ya.”
// \{\m{B}}「ああ」
<227> From within the pile of clothes by a corner of the room, Sunohara fished out a pair of undergarments and a towel, and proceeded out of the room.
// 部屋の隅で山となっている衣類の中から、下着とタオルを引っ張り出すと、春原は部屋を出ていく。
<228> \{\m{B}}“……….”
// \{\m{B}}「………」
<229> I would really want to avoid facing Sunohara when her returns after his shower.
// シャワーから戻ってきた春原を迎える、という状況もできたら避けたい。
<230> I should be going home just about now.
// 今のうちに帰ることにしよう。
<231> I closed the magazine, and got up.
// 雑誌を閉じて、体を起こす。
<232> Thereupon, I chanced on a radio–cassette player in front of me.
// すると、すぐ正面、一台のラジカセと向き合わせになる。
<233> There was a cassette inserted inside.
// 中にはテープが入ったままになっていた。
<234> I played it.
// 再生してみる。
<235> When the tape started rolling, a hip–hop song that used to be popular long ago could be heard.
// 流れてきたのは、一昔前に流行った、歌謡ヒップホップ。
<236> \m{B} (The hell…)
// \{\m{B}}（ダッサ…）
<237> \m{B} (I’m not listening to this…)
// \{\m{B}}（こんなの聴かねぇだろ…）
<238> Rap over the cassette
// 上書きで何か吹き込む
<239> Give it a pass
// やめておく
<240> K’; I guess I’m going to rap an original instead.
// よし、代わりに俺のオリジナルラップを吹き込んでやろう。
<241> The title is, ‘From me to my best friend, Sunohara, rap’.
// テーマは『俺から、親友春原に捧ぐラップ』だ。
<242> The thought of him choking with emotion came into my mind.
// あいつの感動にむせぶ姿が目に浮かぶ。
<243> \m{B} (Here I go…)
// \{\m{B}}（いくぞ…）
<244> With a deep breath, I pushed the record button.
// 息を大きく吸い込み、録音ボタンを押す。
<245> \{\m{B}}“… YO! YO! Here’s \m{A}! You’re,”
// \{\m{B}}「…YO! YO! オレ\m{A}！オマエはっ」
<246> As the tune went on, I spun out my words.
// テンポよく、言葉を紡ぎ出す。
<247> \{\m{B}}“You’re….”[4]
// \{\m{B}}「オマエは…」
<248> But… I couldn’t think of any words after that.
// が…その先が何も浮かんでこない。
<249> Stop. I sound like an idiot…
// やめた。アホらし…
<250> Say anything relevant that comes to mind.
// 適当に思いついた言葉を発する
<251> \{\m{B}}“A Mongolian chop!”
// \{\m{B}}「モンゴリアンチョップ！」
<252> \{\m{B}}“No, you’ll get a Mongolian Chop”
// \{\m{B}}「いや、オマエに、モンゴリアンチョップ」
<253> \{\m{B}}“Wait, it doesn't make any sense no matter how I say it….”
// \{\m{B}}「って、どちらにしても意味不明だな…」
<254> \{\m{B}}“Evolved above shore into the WuperRuper!”
// \{\m{B}}「陸に上がって進化を遂げたウーパールーパー！」
<255> \{\m{B}}“Hmm…? I said it as a joke, but it somehow turned out sounding serious….”
// \{\m{B}}「あれ…？冗談で言ったのに、なんだかマジでそう思えてきたぞ…」
<256> \{\m{B}}“……….”
// \{\m{B}}「………」
<257> \{\m{B}}“You’re…WuperRuper?”
// \{\m{B}}「おまえ…ウーパールーパー？」
<258> \{\m{B}}“Made–In–China!”
// \{\m{B}}「メイド・イン・チャイナ！」
<259> \{\m{B}}“Mass produced by China.”
// \{\m{B}}「中国で大量生産されてんだ」
<260> \{\m{B}}“With innards!”
// \{\m{B}}「って、キモッ！」
<261> \{\m{B}}“Cock–a–doodle–doo–!”
// \{\m{B}}「クックドゥードゥルドゥー！」
<262> \{\m{B}}“Uwah, I have no idea what I am talking about ~! Hahahaha!”
// \{\m{B}}「うわ、俺ひとりで何言ってんだろ、わっけわかんね～！はははは！」
<263> \{\m{B}}“Aotenagahukurooosunoharamodoki!”
// \{\m{B}}「アオテナガフクロオオスノハラモドキ！」
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”[5]
// \{\m{B}}「青くて手が長くて袋を持ってて大きい春原のモドキなんだ」
<265> \{\m{B}}“Wait, imitation clay figure isn’t as frightening as original!/p Hey, what if I meddled with it?””
// \{\m{B}}「って、モドキじゃないオリジナルで十分怖ぇよっ！\pってツッコミたくならんか？」
<266> \{\m{B}}“Have a topknot hairstyle!”[6]
// \{\m{B}}「ちょんまげ！」
<267> \{\m{B}}“Nay, Sunohara doesn’t have a topknot hairstyle….”
// \{\m{B}}「いや、ちょんまげじゃねぇし…」
<268> \{\m{B}}“Then this rap would be one huge lie….”
// \{\m{B}}「じゃ、このラップ嘘になるじゃん…」
<269> \{\m{B}}“Sunohara, my bad, go get a topknot hairstyle.”
// \{\m{B}}「春原、わりぃ、ちょんまげにしてくれ」
<270> \{\m{B}}“Hpfuu’….”
// \{\m{B}}「ぷっ…」
<271> \{\m{B}}“Crap, I laughed before I could say the words.”
// \{\m{B}}「やべ、言う前に自分で笑っちまった」
<272> \m{B} (… forget it. I sound like an idiot…)
// \{\m{B}}（…やめた。アホらし…）
<273> \{\m{B}}“… forget it. I sound like an idiot….”
// \{\m{B}}「…やめた。アホらし…」
<274> I hit it in frustration.
// 速攻で挫折する。
<275> What’s my problem, doing such stuff for his sake?
// どうして、あいつのためにこんなことをしてやらなくちゃいけないんだ。
<276> In the first place, you couldn’t call our relationship close.
// そもそも、親友なんて呼べるほどの間柄でもないじゃないか。
<277> \m{B} (Gotta hurry home…)
// \{\m{B}}（とっとと、帰ろう…）
<278> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
<279> For once, I left his room as is, even though the day did ended without me completing anything….
// かつて、俺をひとり部屋に放置して、何事もなく終わったことはないのだが…
<280> I’ll spare him for today, huh.
// 今日のところは許しておいてやるか。
<281> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
</pre>
</div>

=== Notes ===
[1]
<43> \{Girl}“Do you like this school?”
*can also be translated as: \{Girl}“Do I like this school?”.

[2]
<110> I head for a bento[J] vendor, and then buy a bento for my dinner.
*A bento is a Japanese box filled with food.

[3]
<182> I relaxed myself in the confined space between the ancient kotasu[J] and the wall, and started eating my bento.
*A kotasu is a table with a heater underneath.

[4]
<247> \{\m{B}}“You’re…”
*Is translated as \{\m{B}}“You…” in several versions of the next line in the rap.

[5]
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”
*Blue hands held a long bag, with an imitation Sunohara clay figure.

[6]
<266> \{\m{B}}“Have a topknot hairstyle!”
*Is a hairstyle popular in ancient Japan; http://en.wikipedia.org/wiki/Chonmage

== Alternative translation ==
I wish to post my translation to be used as additional materials to edit with, but it's in the wrong format (and thus cannot be used as a preview), and I do not know where to post it.[[User:Jc100|Jc100]] 04:38, 6 February 2007 (PST)

I suggest using this page and use the clannadbox div tags:
<pre><div class="clannadbox">
<pre>
insert text here
</pre>
</div></pre>

-- [[User:Velocity7|velocity7]], 7:56 AM EST February 6, 2006

Actually, I meant that my translation was not in the SEEN format, I extracted it out for ease. I'll post mine for comparison though.[[User:Jc100|Jc100]] 19:15, 9 February 2007 (PST)

Since V7 didn't give me any specific instructions, I would be taking some liberal liberties with the editing of the text here, especially with tenses.

Forgive me if I make some errors here and there as I can't read Japanese, and am fairly new to this editing business. Please bring to light anything that is really supposed "to be like that".

p.s@velocity7: Bicube sends you a punch.

--[[User:Umiman|umiman]] 18:36, 12 February 2007 (PST)

Can someone look over lines 0088 - 0092.

It doesn't really seem to make sense how his father was depressed before the accident, and depressed again after the accident.

Also, there are issues with lines 0114 - 0115.

--[[User:Umiman|umiman]] 19:06, 13 February 2007 (PST)

This was the original translation I made, does this sounds better?
******
Line 0114: They are totally different from me who has no dream at all.
Line 0115: I couldn't care less though, and also in this place... lives Sunohara.

******
About 0088 - 0092: Tomoya's father was depressed when he lost his wife, and made him waste his time by drinking alcohol and gambling. But one day, Tomoya and his father had a fight that end up injuring Tomoya, after that, his father locked up his feelings (maybe pretend to lock his feelings) towards Tomoya and started calling his name with a -kun attached to it.--[[User:DGreater1|DGreater1]] 19:37, 16 February 2007 (Phillipine time)

:@Uniman. See if the way my translation phrases it better. Feel free to 'assimilate' some of my lines to the main text file, or use your own if you have a new perspective on hhow to phrase them. But make sure to change the ellipse characters into sets of three periods, and the open and close quotation marks into just plain quotation marks as per the guidelines.

:--[[User:Jc100|Jc100]] 23:13, 18 February 2007 (PST)

******
Sorry for the long delay in reading this. Sick for quite awhile and had a lot of projects to do:

Line 0114: Reworked the sentence to fit.

Line 0115: I suggest using JC100's translation for this. I also suggest using Jc's translation for lines 0088 to 0092 as well.

From what I can see, DGreater1 and JC100 have quite contrasting translation styles. DGreater seems to focus more on faithfulness to the original text while JC100 is more keen on making it sound nice in English.

I might be wrong though, but I'll suggest the times when it might be better to switch between the two.

p.s: This is mostly a rough go-through. It's hard reading two translations at once, so please bear with me :).

--[[User:Umiman|umiman]] 22:29, 4 March 2007 (PST)
=== SEEN0414 and SEEN0415 Line Consistency ===
<pre>
****************************************
SEEN0414 Original
****************************************
<0047> Probably wondering what her boyfriend (or girlfriend) would say.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<0048> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0049> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0050> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0051> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0052> With great difficulty, she continues to speak.
****************************************
SEEN0415 Original
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really really like this school." // same with line 0048 from SEEN0414
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, there might be nothing here that will never change." // same with line 0049 from SEEN0414
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Enjoyable things and happy things, all of them." // same with line 0050 from SEEN0414
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "All of them will change."
// \{女の子} 「ぜんぶ、変わらずにはいられないです…」// same with line 0051 from SEEN0414
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "So you're saying, we'll end up disliking this school?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
****************************************
SEEN0415 With the substituted line
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
======== What I mean is, is line 459-463 enough to make Tomoya think about the next line? =====
======== Line 459-463 seems to be missing some context to make the next line be interpreted correctly. =====
<0464> \{\m{B}} "So you're saying, we'll end up disliking this school?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
// 最後の言葉は俺が言っていた。
</pre>

Talk:Clannad:SEEN0414

2007-04-21T19:23:21Z

Dgreater1: Discussion

== Alt. Translation Post ==

<div class="clannadbox">
<pre>
// Resources for SEEN0414.TXT

#character '＊Ｂ'
//#character '＊Ｂ'
#character 'Voice'
//#character '声'
#character 'Girl'
//#character '女の子'
#character 'Teacher'
//#character '教師'
#character 'Sunohara'
//#character '春原'
#character 'Young Man'
//#character '男子'

<0> I hate this town.
// この町は嫌いだ。
<1> It’s because there are places stained with memories that I wish to forget.
// 忘れたい思い出が染みついた場所だから。
<2> Going to school every day, attending lessons every day, chatting with friends every day, and then returning to the house that I do not wish to return, every day.
// 毎日学校に通い、授業を受け、友達とだべり、そして帰りたくもない家に帰る。
<3> Nothing new, or the like, ever occurs.
// 何も新しいことなど始まらない。
<4> \m{B} (With this routine carrying on, I wonder if anything has actually changed….)
// \{\m{B}}（こうしていて、何かが変わるんだろうか…）
<5> \m{B} (When will my life ever change…?)
// \{\m{B}}（俺の生活は、いつか変わるんだろうか….）
<6> A town separated all over by rampant greenery.
// やたらと自然が多い町。
<7> Having to detour around mountains to attend school.
// 山を迂回しての登校。
<8> If only I could cut through all the mountains, how much easier it would probably have been.
// すべての山を切り開けば、どれだけ楽に登校できるだろうか。
<9> If I walked in a straight line, I would then be able to shave off about 20 minutes.
// 直線距離を取れば、２０分ぐらいは短縮できそうだった。
<10> \m{B} (One day, 20 minutes….)
// \{\m{B}}（一日、２０分…）
<11> \m{B} (And thus, in a year, roughly how much time will I be able to gain?)
// \{\m{B}}（すると、一年でどれぐらい、俺は時間を得することになるんだ….）
<12> I do the mathematics while walking.
// 計算しながら、歩く。
<13> \m{B} (Aah, hell, I have totally no idea….)
// \{\m{B}}（ああ、よくわかんねぇ…）
<14> I see nobody nearby who appears to be a schoolmate.
// 辺りに同校の生徒の姿はない。
<15> As this is the main street that leads to school, it should essentially be flourishing with pupils.
// 学校に続く大通りだから、本来、生徒で賑わっているはずだった。
<16> Today is not a holiday or anything.
// 今日が、休日というわけでもない。
<17> In other words…this is not the time when a student ought to attend school; and thus is the situation now.
// つまりは…生徒が登校すべき時間ではない、ということ。
<18> But, despite appearing to have a cannot–be–bothered attitude from a spectator’s perspective, I did not hurry, and continued with my easygoing pace.
// けど、そんな閑散とした光景を目の当たりにしても俺は焦ることなく、悠長に歩き続けた。
<19> ……….
// ………。
<20> 200 meters left to the school gate.
// 校門まで残り２００メートル。
<21> I stop for a moment, out of breath.
// 一度立ち尽くす。
<22> \{\m{B}}“Haa.”
// \{\m{B}}「はぁ」
<23> And sigh, simultaneously looking towards the sky.
// ため息と共に空を仰ぐ。
<24> The destination was the school gate.
// その先に校門はあった。
<25> Whose choice has it been, to lay the gate at such a place?
// 誰が好んで、あんな場所に校門を据えたのか。
<26> The long sloping path extended high up, like those in nightmarish dreams.
// 長い坂道が、悪夢のように延びていた。
<27> \{Voice}“Haa.”
// \{声}「はぁ」
<28> An other, different sigh. Smaller and shorter than mine.
// 別のため息。俺のよりかは小さく、短かかった。
<29> I looked beside me.
// 隣を見てみる。
<30> There, standing exhausted like I, was a female student.
// そこに同じように立ち尽くす女生徒がいた。
<31> From the colour of her school badge, I could tell she was another third–year student.
// 校章の色から、同じ三年生だとわかる。
<32> However, her face is not familiar.
// けど、見慣れない顔だった。
<33> Her short hair that ended by her shoulders flutters in the wind.
// 短い髪が、肩のすぐ上で風にそよいでいる。
<34> Female child “……….”
// \{女の子}「………」
<35> A face that appeared to be on the verge of tears.
// 今にも泣きだしそうな顔だった。
<36> I was somewhat of a habitual latecomer and thus have no qualms about coming late today, but with a diligent girl like her…
// 俺なんかは常習犯だったからなんとも思わないが、真面目な奴なのだろう…
<37> Going into class now by herself must be somewhat tough.
// この時間にひとり教室に入っていくことに抵抗があるのだ。
<38> \{Girl}“Yes, yes….”
// \{女の子}「うんうん…」
<39> She appeared to be whispering something to herself, with her eyes closed, and nodding from moment to moment.
// 何かを自分に言い聞かせるように、目を瞑って、こくこくと頷いている。
<40> Female Child “……….”
// \{女の子}「………」
<41> And then, she opened her eyes.
// そして少女は目を見開く。
<42> Ji–tto[J], fixed her eyes on the school gate, high above.
// じっと、高みにある校門を見つめた。
<43> \{Girl}“Do you like this school?”[1]
// \{女の子}「この学校は、好きですか」
<44> \{\m{B}}“Eh…?”
// \{\m{B}}「え…？」
<45> No, she was not asking me.
// いや、俺に訊いているのではなかった。
<46> The question was posed for a person existing in her imagination.
// 妄想の中の誰かに問いかけているのだ。
<47> I do wonder how that guy (or possibly female) may answer.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<48> \{Girl}“I like this school very, very much.”
// \{女の子}「わたしはとってもとっても好きです」
<49> \{Girl}“But, just about everything… I am unable to change along with.”
// \{女の子}「でも、なにもかも…変わらずにはいられないです」
<50> \{Girl}“Like those that are fun, like those that fill with joy, all of them.”
// \{女の子}「楽しいこととか、うれしいこととか、ぜんぶ」
<51> \{Girl}“All of them, I am unable to change along with.”
// \{女の子}「ぜんぶ、変わらずにはいられないです」
<52> With apparent difficulty, her conversation continued.
// たどたどしく話し続ける。
<53> \{Girl}“Even then, do I still like this place?”
// \{女の子}「それでも、この場所が好きでいられますか」
<54> ……….
// ………。
<55> \{Girl}“I….”
// \{女の子}「わたしは…」
<56> \{\m{B}}“Why don’t you try looking for them?”
// \{\m{B}}「見つければいいだけだろ」
<57> \{Girl}“Eh’…?”
// \{女の子}「えっ…？」
<58> Surprised, the girl looked towards my face.
// 少女が驚いて、俺の顔を見る。
<59> It seemed as though she had completely believed that there had not been anybody around.
// まるで、今まで誰もいないと信じていたかのようにだ。
<60> \{\m{B}}“Looking for other fun and happy things will solve the problem, won’t it?”
// \{\m{B}}「次の楽しいこととか、うれしいことを見つければいいだけだろ」
<61> \{\m{B}}“Do you have only one fun and happy activity? That’s not so, right?”
// \{\m{B}}「あんたの楽しいことや、うれしいことはひとつだけなのか？違うだろ」
<62> \{Girl}“……….”
// \{女の子}「………」
<63> Yes.
// そう。
<64> Times when we were pure and did not know anything.
// 何も知らなかった無垢な頃。
<65> Everybody has had a time like that.
// 誰にでもある。
<66> \{\m{B}}“Come on, let’s go.”
// \{\m{B}}「ほら、いこうぜ」
<67> April 14th (Monday)
// ４月１４日(月)
<68> \{Teacher}“Sunohara[J].”
// \{教師}「春原（すのはら）」
<69> The teacher called out the name of a student.
// 教師があるひとりの生徒の名を口にした。
<70> \{Teacher}“Absent, as usual.”
// \{教師}「相変わらずいないのか」
<71> I looked beside. Over there was Sunohara’s seat.
// 隣を見る。そこが春原の席だった。
<72> His attendance was worse than mine.
// こいつの遅刻率は俺より高い。
<73> Together, we are the only ones labelled as delinquents in the class.
// ふたり合わせてクラスの不良生徒として名指しされることが多かった。
<74> Maybe it’s because of that that we get along well.
// だからだろう、よく気が合う。
<75> Thus, among the class’s students, we can only chat with each other casually.
// そして、クラスの中で、唯一俺が心を許して話すことのできる人間だった。
<76> The lesson starts.
// 授業が始まる。
<77> I looked out of the window.
// 俺は窓の外を見て過ごした。
<78> The teacher’s words never made it past my ear.
// 教師の声はすべて聞き流して。
<79> A day’s worth of lessons has ended; it is now after class.
// 一日の授業を終え、放課後に。
<80> Even till the last moment, that Sunohara never came.
// 春原の奴は最後までこなかった。
<81> In the end, the only person whom I talked with today was that girl from this morning.
// 結局、今日俺が話をしたのは、朝に出会った女生徒だけだった。
<82> An everyday that truly never changes for the better.
// 実に代わり映えしない毎日。
<83> As I had not joined any club, I grabbed my empty bag and left the classroom; avoiding the jabbering students.
// 部活にも入っていない俺は、空っぽの鞄を掴むと、だべる生徒の合間を抜けて、教室を後にした。
<84> Even if I headed for home, there will not be anyone at this time of day.
// 家に帰っても、この時間は誰もいない。
<85> To start with, I did not have a mother anymore.
// もとより母親はいなかった。
<86> She died in a traffic accident when I was young; I don’t even remember her face.
// 俺が小さい頃に、交通事故で亡くなったそうだ。顔すら覚えていなかった。
<87> Maybe it was because of the shock of losing my mother… left behind, my father rotted away.
// 母を亡くしたショックでだろうか…残された父は堕落していった。
<88> He drank without end; he ruined his life by spending his free time of gambling.
// アルコールを絶やすことなく飲み続け、賭け事で暇を潰す生活。
<89> My youth was spent arguing with my father to fill the emptiness in our hearts.
// 少年時代の俺の暮らしは、そんな父との言い争いにより埋め尽くされた。
<90> But because of an incident, our relationship changed.
// けど、ある事件をきっかけにその関係も変わってしまった。
<91> He exhibited violence; I suffered an injury.
// 俺に暴力を振るい、怪我を負わせたのだ。
<92> Ever since that day, my father did not show any emotion.
// その日以来、父親は感情を表に出さないようになった。
<93> Furthermore, he never calls me by name; addressing me as ‘\m{B}–kun’, like an unrelated person.
// そして、俺の名を昔のように呼び捨てではなく、『\m{B}くん』とくん付けで呼び、言動に他人行儀を感じさせるようになった。
<94> As expected, I was in the process of joining the ranks of an outsider.
// それはまさしく、他人同士になっていく過程だった。
<95> It was as though a shell had shut us off to each other entirely, so to speak.
// まるで殻に閉じこもっていくように。
<96> It was as though we had wanted to sever all connections of the past from the present.
// 今と過去との接点を断ち切るように。
<97> It was a relief that we had rejected each other.
// 突き放すならまだ、よかったのに。
<98> Even though I was wounded, I was saved from the constant arguing.
// 傷つけてくれるなら、まだ救われたのに。
<99> In spite of that, when he notices that I had arrived home, he rejoices as though I am a visiting old friend…and proceeds to gossip.
// なのに父は学校から帰ってきた俺の姿を見つけると、まるで旧友が訪れたように喜んで…そして世間話を始めるのだ。
<100> My chest fills with hurt; I do not wanted to recollect.
// 胸が痛くなって、居たたまれなくなって…
<101> I ran out of the house.
// 俺は家を飛び出すのだ。
<102> Not wanting to see his face, it became a daily routine for me to not return home till late at night, when my father was asleep.
// だから顔を合わせないよう、親父の寝入る深夜になるまで家には戻らない生活をずっと続けていた。
<103> Because I go to bed in the wee hours of dawn, it is usually noon when I wake.
// 明け方に寝るから、目覚めるのは昼近く。
<104> Ever since I started high school, I was late just about every day.
// 高校に入ってからの俺は、毎日のように遅刻だった。
<105> That sort of life has continued for three years.
// そんな生活を続けて三年近くになる。
<106> As usual, I just put on my uniform, and rush out of the house before my father had a chance to return.
// 今日も制服だけ着替えて、親父が帰ってくる前に折り返し家を出る。
<107> Such was my health depriving routine.
// それが体に染みついた日常だった。
<108> I wander about the town during night.
// 夜の町をうろつく。
<109> My final destination is always the same.
// 最後に行き着く場所はいつも同じだ。
<110> I head for a bento vendor, and then buy a bento for my dinner.[2]
// 行きがけにある弁当屋で、夕飯となる弁当を買い求めた後…
<111> With that in my hand, I head for the student dormitories by the foot of the hill on which my school was located.
// それを手に、学校の坂下に建つ学生寮へ。
<112> Our school particularly stresses on club activities, thus we get many students from the area.
// うちの学校は特に部活動に力を入れているため、地方から入学してくる生徒も多い。
<113> These students leave their parents and home. Instead, they spend three years here.
// そんな生徒たちは親元を離れて、ここで三年間を過ごすことになるのだ。
<114> Totally unlike me; unlike I who have no goals for my student career.
// 俺のような学生生活に夢も持たない人間とはまったく違う人種。
<115> I am not concerned with meeting any of these people, but that guy… Sunohara resides here.
// 関わり合いになることもなかったが、こんな場所にあいつ…春原は住んでいるのだ。
<116> Sunohara was originally from the soccer team; he was one who was recommended this school for its sports.
// 春原は元サッカー部で、この学校にも、スポーツ推薦で入学してきた人間だ。
<117> But during his first year, he got into a large fight with students from another school and was suspended. And he stopped being a regular member.
// しかし一年生の時に他校の生徒と大喧嘩をやらかし停学処分を受け、レギュラーから外された。
<118> After the recruitment for new members ended the next year, he no longer had any place in the club.
// そして新人戦が終わる頃には、あいつの居場所は部にはなかった。
<119> He could only quit.
// 退部するしかなかったのだ。
<120> After that, he did not have the money to change lodgings, he thus continued living at the dorms for members of sports teams.
// その後も別の下宿に移り住む金銭的余裕もなく、この体育会系の学生が集まる学生寮に身を置き続けているのだ。
<121> \{Voice}“How many times do I have to repeat myself to make you understand, huh?”
// \{声}「何度言えばわかるんだよっ」
<122> \{Sunohara}“But it’s already all totally soft.”
// \{春原}「でも、すげぇ小さい音だったっての」
<123> Sunohara’s there.
// 春原がいた。
<124> He was talking to a gargantuan male with an awkward build outside someone else’s room.
// 別の部屋の前で、やたら図体のでかい男子生徒と話をしていた。
<125> \{Young Man}“Even if it’s all totally soft, the thin walls will leak sound!”
// \{男子}「すげぇ小さい音でも、壁が薄いから響くんだよっ！」
<126> \{Young Man}“Use the damn headphones!”
// \{男子}「ヘッドホンで聴けよっ」
<127> \{Sunohara}“I don’t hav’ such high–grade equipment, haha.”
// \{春原}「んな高級なもんねぇって、ははっ」
<128> \{Young Man}“Then don’t listen at all!”
// \{男子}「じゃあ、聴くなっ」
<129> \{Sunohara}“Nay, if I don’t listen I won’t feel in the mood, huh.”
// \{春原}「いや、でも、あれ聴かないと、調子出ないんだよね」
<130> \{Sunohara}“Furthermore, it’s a splendid, cool song huh?”
// \{春原}「それに、結構、イカす音楽だと思うんだよね」
<131> \{Young Man}“……….”
// \{男子}「………」
<132> \{Sunohara}“Why don’t you try listening to the lyrics this time huh? They’re great.”
// \{春原}「今度、歌詞とかちゃんと聴いてみてよ、イカしてるから」
<133> \{Young Man}“There’s nothing remotely cool about it….”
// \{男子}「イカしてるも何もねぇ…」
<134> \{Young Man}“You’re making me seriously PISSED!”
// \{男子}「こっちは、むかついてんだよぉっっ！」
<135> \{Young Man}“The next time I hear that, I’ll kick you out!”
// \{男子}「次聞こえてきたら、叩き出すぞっ！」
<136> Batan’[J]!\shake{4} *Bam
// バタンッ！\shake{4}
<137> \{Sunohara}“Hii!”
// \{春原}「ひぃっ！」
<138> \{Sunohara}“……….”
// \{春原}「………」
<139> In front of the shut door, Sunohara stood with his head looking down.
// 閉ざされたドアの前で、うなだれる春原。
<140> \{Sunohara}“Damn…fucking rugby bastard….”
// \{春原}「くそぅ…ラグビー部め…」
<141> He mumbled softly.
// そう小さく呟いた。
<142> \{\m{B}}“With that voice, they wouldn’t be able to hear, y’know.”
// \{\m{B}}「んな声じゃ、聞こえないだろ」
<143> \{\m{B}}“\size{30}DAMN! FUCKING RUGBY BASTARRD–’! \size{}”
// \{\m{B}}「\size{30}くそぅ！ラグビー部めえぇぇぇーっ！\size{}」
<144> Standing behind him, I shout out his comment.
// その背後に立ち、大きな声で言い直してやる。
<145> \{Sunohara}“Hiii’!”
// \{春原}「ひぃぃっ！」
<146> He engaged me in a headlock and dragged me into his room.
// 春原は俺の頭を抱えると、自分の部屋へと引きずり込む。
<147> Down the corridor, an angry reply came: ‘WHO WAS THAT JUST NOW?!’
// 廊下では、『今の誰だぁっ！』と怒声が響いていた。
<148> \{Sunohara}“Haa…haa….”
// \{春原}「はぁ…はぁ…」
<149> \{Sunohara}“Were you trying to get me killed’?!”
// \{春原}「僕を殺す気かっ！」
<150> \{\m{B}}“Wasn’t it you who first said that?”
// \{\m{B}}「おまえが言ったんじゃないかよ」
<151> \{Sunohara}“Ahem, excuse me, \m{A}….”
// \{春原}「あのさ、\m{A}…」
<152> \{Sunohara}“Even at the best of times, I don’t get along well with the guys over here, you know ….”
// \{春原}「ただでさえ、ここのところ、連中との関係が穏やかじゃなくなってるんだからさ…」
<153> \{\m{B}}“Show them who’s the boss man.”
// \{\m{B}}「派手に散ろうぜ」
<154> \{Sunohara}“I have one more year left, you know that?!”
// \{春原}「後、一年残ってるよっ！」
<155> \{\m{B}}“And so you intend to live in fear.”
// \{\m{B}}「おまえ、そうやって、ビクビク暮らしてくのな」
<156> \{Sunohara}“Hey….”
// \{春原}「あのね…」
<157> \{Sunohara}“I couldn’t even take them on one–to–one. For one, the opponents are all rugby guys, yea?”
// \{春原}「僕だって、一対一なら引くことはないさ。たとえ、相手がラグビー部だとしてもね」
<158> \{Sunohara}“Even though the rooms surrounding mine all belong to the rugby team….”
// \{春原}「けど、周りは全部ラグビー部の部屋…」
<159> \{Sunohara}“If I cause any, like, trouble over here… things won’t be pretty for me, like….”
// \{春原}「こんな場所で事を起こした日にゃ…分が悪すぎるよ…」
<160> \{Sunohara}“But, well, if it’s just before graduation, it might not be half bad huh.”
// \{春原}「でも、まぁ、卒業間際になったら、派手にやるのもいいね」
<161> \{Sunohara}“When the time comes, \m{A}, you’ve got my back, man.”
// \{春原}「そん時は、\m{A}、僕の背中はおまえに任せるぜっ」
<162> \{\m{B}}“Good! I’ll tag along!”
// \{\m{B}}「ラッキー、ザックリいくな」
<163> \{Sunohara}“DAMN, don’t come! Get away!”
// \{春原}「くるなよっ！いけよっ！」
<164> \{\m{B}}“But I’m on the rugby team’s team, y’see?”
// \{\m{B}}「だって、俺、ラグビー部側だぜ？」
<165> \{Sunohara}“Since when?!”
// \{春原}「いつからだよっ！」
<166> \{\m{B}}“Nope, only when the time comes.”
// \{\m{B}}「いや、そん時だけ」
<167> \{Sunohara}“Okay? Why!?”
// \{春原}「はい！？なんでよっ！？」
<168> \{Sunohara}“What on earth was the past two years we’ve been comrades for?! Eeh’!?”
// \{春原}「共に過ごしてきた僕らの二年間は一体何よっ！ええっ！？」
<169> \size{30}Doon’!\size{}\shake{4} *Boom
// \size{30}どぉんっ！\size{}\shake{4}
<170> The wall shook.
// 壁が揺れた。
<171> Following that, an angry shout was heard: ‘Shut the HELL UP’!’
// 続けざま、『静かにしろぉっ！』と怒鳴り声。
<172> \{Sunohara}“Hii’.”
// \{春原}「ひぃっ」
<173> \{\m{B}}“Kick him back!”
// \{\m{B}}「蹴り返してやろう」
<174> \{Sunohara}“Stop IT’!”
// \{春原}「やめてくれぇっ！」
<175> \{Sunohara}“}“You look really tense, y’know.”
// \{\m{B}}「おまえ、超ビビリな」
<176> \{Sunohara}“You; …look from my perspective here….”
// \{春原}「おまえな…僕の立場に立ってみろよ…」
<177> He’s crying….
// 泣いている…。
<178> \{Sunohara}“I’m begging you, please, really, just please don’t be rowdy.”
// \{春原}「頼むから、ここでは大人しくしててくれ」
<179> \{\m{B}}“Ah, oh….”
// \{\m{B}}「あ、ああ…」
<180> I was taken aback at the intensity of his misery.
// その迫力ある惨めさに気圧されてしまう。
<181> Mogumogu[J]…. *munch munch
// もぐもぐ…
<182> I relaxed myself in the confined space between the ancient kotasu and the wall, and started eating my bento.[3]
// 俺は壁と万年コタツに挟まれた狭い空間に腰を落ち着けて、弁当を食べ始めていた。
<183> \{\m{B}}“Excuse me, tea please.”
// \{\m{B}}「悪い、お茶」
<184> \{Sunohara}“Ain’t got NONE’!”
// \{春原}「出ねーよっ！」
<185> \{\m{B}}“That’s why I said “Excuse me” and “please”, didn’t I?”
// \{\m{B}}「だから悪いって、言ってるじゃん」
<186> \{Sunohara}“Use your brains, I haven’t any tea’!”
// \{春原}「頭下げようが、出ねぇよっ」
<187> \{Sunohara}“Have you mistaken this for a cafeteria or something?”
// \{春原}「おまえ、ここが食堂かなんかと勘違いしてない？」
<188> \{\m{B}}“This is your room. I can tell at least that much.”
// \{\m{B}}「おまえの部屋だろ。わかってるよ」
<189> \{Sunohara}“Yes.”
// \{春原}「ああ」
<190> \{\m{B}}“And that makes you the maid.”
// \{\m{B}}「そして、おまえは、小間使いだ」
<191> \{Sunohara}“You so totally do not get it.”
// \{春原}「ぜんぜんわかってないっすね」
<192> \{\m{B}}“Thanks for the favour then, I forgot to buy some.”
// \{\m{B}}「頼むよ、買い忘れてきたんだよ」
<193> \{Sunohara}“And it hasn't occurred to you that you could just get out to buy some yourself….”
// \{春原}「自分で行くという発想は、浮かばないのかよ…」
<194> \{\m{B}}“But by doing so you are, like say, helping in my life, and as helping me is your duty, there’s no better logic, not?”
// \{\m{B}}「だって、おまえ、俺に命を助けられてからというもの、俺の役に立ちたくて、仕方がなかったんだろ？」
<195> \{Sunohara}“You can never convince me to believe that nonsense.”
// \{春原}「そんな裏設定は隠されていませんっ」
<196> \{\m{B}}“It’s like what you said after you saved me.”
// \{\m{B}}「俺が助けた後、おまえ、言ったじゃん」
<197> \{\m{B}}“During the time, when this person called Sunohara died….”
// \{\m{B}}「春原という男は、あの時死にました…」
<198> \{\m{B}}“What remains now, as a memory of my service to you, is a cup of bitter tea…was what he had said.”
// \{\m{B}}「今ここにいるのは、あなたにお仕えする、ただのお茶くみなのです…てさ」
<199> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<200> \{Sunohara}“Don’t spin grandiose lies!”
// \{春原}「壮大な嘘つくなっ」
<201> \{\m{B}}“Just your last cup will do.”
// \{\m{B}}「じゃあ、最後のお茶でいいから」
<202> \{Sunohara}“There’s no first cup, and never a last!”
// \{春原}「最初も最後もねぇよっ」
<203> \{\m{B}}“No, I’m very touched; you used up all your strength for my request.”
// \{\m{B}}「いや、感動的だぜ。これ聞いたら、おまえは、絶対入れたくなるな」
<204> \{\m{B}}“You suffered a major injury, just to help me.”
// \{\m{B}}「大怪我を負ったおまえは、もう助かりそうもなかった」
<205> \{\m{B}}“And that very you abided my command to collect this tea just for the sake of the thirsting me.”
// \{\m{B}}「そのおまえに、のどが渇いた俺は、お茶くみを命ずる」
<206> \{\m{B}}“Thereupon, you summoned you very last, and, crawling on your knees, poured the tea into the cup.”
// \{\m{B}}「すると、おまえは最後の力を振り絞り、這いつくばりながらも、お茶を入れにいくんだ」
<207> \{\m{B}}“And then….”
// \{\m{B}}「そして…」
<208> \{\m{B}}“\m{A}–sama…here is your tea.”
// \{\m{B}}「\m{A}様…お茶でございます…」
<209> \{\m{B}}“And then, this will be…the last…cup of tea I am making….”
// \{\m{B}}「そして、これが…最後の…お茶となります…」
<210> \{\m{B}}“And when you died, your face was smiling with contentment.”
// \{\m{B}}「死に顔は、笑顔なんだ」
<211> \{Sunohara}“You truly like messing around with me, don’t you!”
// \{春原}「僕、ムチャクチャ本望そうっすね！」
<212> \{\m{B}}“But wasn’t that your wish?”
// \{\m{B}}「それが、おまえの望みなんだって」
<213> \{\m{B}}“And then, I was weeping, as I drank your last cup of tea.”
// \{\m{B}}「そして、俺は泣きながらに、その最後のお茶を飲む」
<214> \{\m{B}}“Ah, it was really very moving.”
// \{\m{B}}「な、感動的だろ」
<215> \{\m{B}}“Here, tea please.”
// \{\m{B}}「はい、お茶」
<216> \{Sunohara}“Told’ya I haven’t got ANY.”
// \{春原}「出ねぇってのっ」
<217> After that, I and read through one of his magazines.
// それからは、雑誌を読んで、過ごす。
<218> As there was no television, other than chatting and going through magazines, there was no other way of passing time.
// テレビがなかったから、話をするか、本を読む以外に、時間を潰す方法はなかった。
<219> \{Sunohara}“Huaah….”
// \{春原}「ふわ…」
<220> \{Sunohara}“It’s about time. Aren’t you going to sleep?”
// \{春原}「そろそろ、寝ない？」
<221> It was already late; the day was over, and it was late at night.
// すでに日付は変わり、深夜となっていた。
<222> \{\m{B}}“Yes…you’re right.”
// \{\m{B}}「ああ…そうだな」
<223> I didn’t want to sleep in Sunohara’s room.
// 俺は春原の部屋に泊まることだけはしなかった。
<224> The mere thought of waking up beside such a person in the morning was already depressing.
// こんな奴と共に朝を迎えるなんて、想像しただけでも憂鬱になる。
<225> \{Sunohara}“I’m going to take a shower then.”
// \{春原}「じゃ、僕、シャワー浴びてくっから」
<226> \{\m{B}}“Ya.”
// \{\m{B}}「ああ」
<227> From within the pile of clothes by a corner of the room, Sunohara fished out a pair of undergarments and a towel, and proceeded out of the room.
// 部屋の隅で山となっている衣類の中から、下着とタオルを引っ張り出すと、春原は部屋を出ていく。
<228> \{\m{B}}“……….”
// \{\m{B}}「………」
<229> I would really want to avoid facing Sunohara when her returns after his shower.
// シャワーから戻ってきた春原を迎える、という状況もできたら避けたい。
<230> I should be going home just about now.
// 今のうちに帰ることにしよう。
<231> I closed the magazine, and got up.
// 雑誌を閉じて、体を起こす。
<232> Thereupon, I chanced on a radio–cassette player in front of me.
// すると、すぐ正面、一台のラジカセと向き合わせになる。
<233> There was a cassette inserted inside.
// 中にはテープが入ったままになっていた。
<234> I played it.
// 再生してみる。
<235> When the tape started rolling, a hip–hop song that used to be popular long ago could be heard.
// 流れてきたのは、一昔前に流行った、歌謡ヒップホップ。
<236> \m{B} (The hell…)
// \{\m{B}}（ダッサ…）
<237> \m{B} (I’m not listening to this…)
// \{\m{B}}（こんなの聴かねぇだろ…）
<238> Rap over the cassette
// 上書きで何か吹き込む
<239> Give it a pass
// やめておく
<240> K’; I guess I’m going to rap an original instead.
// よし、代わりに俺のオリジナルラップを吹き込んでやろう。
<241> The title is, ‘From me to my best friend, Sunohara, rap’.
// テーマは『俺から、親友春原に捧ぐラップ』だ。
<242> The thought of him choking with emotion came into my mind.
// あいつの感動にむせぶ姿が目に浮かぶ。
<243> \m{B} (Here I go…)
// \{\m{B}}（いくぞ…）
<244> With a deep breath, I pushed the record button.
// 息を大きく吸い込み、録音ボタンを押す。
<245> \{\m{B}}“… YO! YO! Here’s \m{A}! You’re,”
// \{\m{B}}「…YO! YO! オレ\m{A}！オマエはっ」
<246> As the tune went on, I spun out my words.
// テンポよく、言葉を紡ぎ出す。
<247> \{\m{B}}“You’re….”[4]
// \{\m{B}}「オマエは…」
<248> But… I couldn’t think of any words after that.
// が…その先が何も浮かんでこない。
<249> Stop. I sound like an idiot…
// やめた。アホらし…
<250> Say anything relevant that comes to mind.
// 適当に思いついた言葉を発する
<251> \{\m{B}}“A Mongolian chop!”
// \{\m{B}}「モンゴリアンチョップ！」
<252> \{\m{B}}“No, you’ll get a Mongolian Chop”
// \{\m{B}}「いや、オマエに、モンゴリアンチョップ」
<253> \{\m{B}}“Wait, it doesn't make any sense no matter how I say it….”
// \{\m{B}}「って、どちらにしても意味不明だな…」
<254> \{\m{B}}“Evolved above shore into the WuperRuper!”
// \{\m{B}}「陸に上がって進化を遂げたウーパールーパー！」
<255> \{\m{B}}“Hmm…? I said it as a joke, but it somehow turned out sounding serious….”
// \{\m{B}}「あれ…？冗談で言ったのに、なんだかマジでそう思えてきたぞ…」
<256> \{\m{B}}“……….”
// \{\m{B}}「………」
<257> \{\m{B}}“You’re…WuperRuper?”
// \{\m{B}}「おまえ…ウーパールーパー？」
<258> \{\m{B}}“Made–In–China!”
// \{\m{B}}「メイド・イン・チャイナ！」
<259> \{\m{B}}“Mass produced by China.”
// \{\m{B}}「中国で大量生産されてんだ」
<260> \{\m{B}}“With innards!”
// \{\m{B}}「って、キモッ！」
<261> \{\m{B}}“Cock–a–doodle–doo–!”
// \{\m{B}}「クックドゥードゥルドゥー！」
<262> \{\m{B}}“Uwah, I have no idea what I am talking about ~! Hahahaha!”
// \{\m{B}}「うわ、俺ひとりで何言ってんだろ、わっけわかんね～！はははは！」
<263> \{\m{B}}“Aotenagahukurooosunoharamodoki!”
// \{\m{B}}「アオテナガフクロオオスノハラモドキ！」
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”[5]
// \{\m{B}}「青くて手が長くて袋を持ってて大きい春原のモドキなんだ」
<265> \{\m{B}}“Wait, imitation clay figure isn’t as frightening as original!/p Hey, what if I meddled with it?””
// \{\m{B}}「って、モドキじゃないオリジナルで十分怖ぇよっ！\pってツッコミたくならんか？」
<266> \{\m{B}}“Have a topknot hairstyle!”[6]
// \{\m{B}}「ちょんまげ！」
<267> \{\m{B}}“Nay, Sunohara doesn’t have a topknot hairstyle….”
// \{\m{B}}「いや、ちょんまげじゃねぇし…」
<268> \{\m{B}}“Then this rap would be one huge lie….”
// \{\m{B}}「じゃ、このラップ嘘になるじゃん…」
<269> \{\m{B}}“Sunohara, my bad, go get a topknot hairstyle.”
// \{\m{B}}「春原、わりぃ、ちょんまげにしてくれ」
<270> \{\m{B}}“Hpfuu’….”
// \{\m{B}}「ぷっ…」
<271> \{\m{B}}“Crap, I laughed before I could say the words.”
// \{\m{B}}「やべ、言う前に自分で笑っちまった」
<272> \m{B} (… forget it. I sound like an idiot…)
// \{\m{B}}（…やめた。アホらし…）
<273> \{\m{B}}“… forget it. I sound like an idiot….”
// \{\m{B}}「…やめた。アホらし…」
<274> I hit it in frustration.
// 速攻で挫折する。
<275> What’s my problem, doing such stuff for his sake?
// どうして、あいつのためにこんなことをしてやらなくちゃいけないんだ。
<276> In the first place, you couldn’t call our relationship close.
// そもそも、親友なんて呼べるほどの間柄でもないじゃないか。
<277> \m{B} (Gotta hurry home…)
// \{\m{B}}（とっとと、帰ろう…）
<278> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
<279> For once, I left his room as is, even though the day did ended without me completing anything….
// かつて、俺をひとり部屋に放置して、何事もなく終わったことはないのだが…
<280> I’ll spare him for today, huh.
// 今日のところは許しておいてやるか。
<281> Before Sunohara came back, I decided to leave.
// 春原が戻ってくる前に、退散を決め込んだ。
</pre>
</div>

=== Notes ===
[1]
<43> \{Girl}“Do you like this school?”
*can also be translated as: \{Girl}“Do I like this school?”.

[2]
<110> I head for a bento[J] vendor, and then buy a bento for my dinner.
*A bento is a Japanese box filled with food.

[3]
<182> I relaxed myself in the confined space between the ancient kotasu[J] and the wall, and started eating my bento.
*A kotasu is a table with a heater underneath.

[4]
<247> \{\m{B}}“You’re…”
*Is translated as \{\m{B}}“You…” in several versions of the next line in the rap.

[5]
<264> \{\m{B}}“Aokute te ga nagakute hukuro o motte te ookii Sunohara no mo doki nan da.”
*Blue hands held a long bag, with an imitation Sunohara clay figure.

[6]
<266> \{\m{B}}“Have a topknot hairstyle!”
*Is a hairstyle popular in ancient Japan; http://en.wikipedia.org/wiki/Chonmage

== Alternative translation ==
I wish to post my translation to be used as additional materials to edit with, but it's in the wrong format (and thus cannot be used as a preview), and I do not know where to post it.[[User:Jc100|Jc100]] 04:38, 6 February 2007 (PST)

I suggest using this page and use the clannadbox div tags:
<pre><div class="clannadbox">
<pre>
insert text here
</pre>
</div></pre>

-- [[User:Velocity7|velocity7]], 7:56 AM EST February 6, 2006

Actually, I meant that my translation was not in the SEEN format, I extracted it out for ease. I'll post mine for comparison though.[[User:Jc100|Jc100]] 19:15, 9 February 2007 (PST)

Since V7 didn't give me any specific instructions, I would be taking some liberal liberties with the editing of the text here, especially with tenses.

Forgive me if I make some errors here and there as I can't read Japanese, and am fairly new to this editing business. Please bring to light anything that is really supposed "to be like that".

p.s@velocity7: Bicube sends you a punch.

--[[User:Umiman|umiman]] 18:36, 12 February 2007 (PST)

Can someone look over lines 0088 - 0092.

It doesn't really seem to make sense how his father was depressed before the accident, and depressed again after the accident.

Also, there are issues with lines 0114 - 0115.

--[[User:Umiman|umiman]] 19:06, 13 February 2007 (PST)

This was the original translation I made, does this sounds better?
******
Line 0114: They are totally different from me who has no dream at all.
Line 0115: I couldn't care less though, and also in this place... lives Sunohara.

******
About 0088 - 0092: Tomoya's father was depressed when he lost his wife, and made him waste his time by drinking alcohol and gambling. But one day, Tomoya and his father had a fight that end up injuring Tomoya, after that, his father locked up his feelings (maybe pretend to lock his feelings) towards Tomoya and started calling his name with a -kun attached to it.--[[User:DGreater1|DGreater1]] 19:37, 16 February 2007 (Phillipine time)

:@Uniman. See if the way my translation phrases it better. Feel free to 'assimilate' some of my lines to the main text file, or use your own if you have a new perspective on hhow to phrase them. But make sure to change the ellipse characters into sets of three periods, and the open and close quotation marks into just plain quotation marks as per the guidelines.

:--[[User:Jc100|Jc100]] 23:13, 18 February 2007 (PST)

******
Sorry for the long delay in reading this. Sick for quite awhile and had a lot of projects to do:

Line 0114: Reworked the sentence to fit.

Line 0115: I suggest using JC100's translation for this. I also suggest using Jc's translation for lines 0088 to 0092 as well.

From what I can see, DGreater1 and JC100 have quite contrasting translation styles. DGreater seems to focus more on faithfulness to the original text while JC100 is more keen on making it sound nice in English.

I might be wrong though, but I'll suggest the times when it might be better to switch between the two.

p.s: This is mostly a rough go-through. It's hard reading two translations at once, so please bear with me :).

--[[User:Umiman|umiman]] 22:29, 4 March 2007 (PST)

<pre>
****************************************
SEEN0414 Original
****************************************
<0047> Probably wondering what her boyfriend (or girlfriend) would say.
// その彼（あるいは彼女）は、どう答えたのだろうか。
<0048> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0049> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0050> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0051> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0052> With great difficulty, she continues to speak.
****************************************
SEEN0415 Original
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really really like this school." // same with line 0048 from SEEN0414
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, there might be nothing here that will never change." // same with line 0049 from SEEN0414
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Enjoyable things and happy things, all of them." // same with line 0050 from SEEN0414
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "All of them will change."
// \{女の子} 「ぜんぶ、変わらずにはいられないです…」// same with line 0051 from SEEN0414
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
<0464> \{\m{B}} "So you're saying, we'll end up disliking this school?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
****************************************
SEEN0415 With the substituted line
****************************************
<0456> I heard this line before. But this time,she's looking at me.
// 聞いたことのあるセリフ。今度は俺に向けられていた。
<0457> \{\m{B}} "Well, not really."
// \{\m{B}} 「いや、取り立てては」
<0458> \{Girl} "Is that so..."
// \{女の子} 「そうですか…」
<0459> \{Girl} "I really, really do."
// \{女の子} 「わたしはとってもとっても好きです」
<0460> \{Girl} "But, nothing... can remain the same."
// \{女の子} 「でも、なにもかも…変わらずにはいられないです」
<0461> \{Girl} "Even fun things and happy things."
// \{女の子} 「楽しいこととか、うれしいこととか、ぜんぶ」
<0462> \{Girl} "Nothing stays that way forever."
// \{女の子} 「ぜんぶ、変わらずにはいられないです」
<0463> It's the same lines I heard yesterday morning
// すべて、昨日の朝、聞いたセリフだ。
======== What I mean is, is line 459-463 enough to make Tomoya think about the next line? =====
======== Line 459-463 seems to be missing some context to make the next be interpreted correctly. =====
<0464> \{\m{B}} "So you're saying, we'll end up disliking this school?"
// \{\m{B}} 「それで、この場所が好きでいられなくなったのか」
<0465> I said the last word.
// 最後の言葉は俺が言っていた。
</pre>

User talk:Akiha

2007-04-21T17:59:57Z

Dgreater1: Sorry about that, accidentally edit the wrong revision @_@

Some suggestions for your English :)

:Shamisen no longer crawls into my bedding in the middle of the night. That tells me that Spring has come, which is several months that I like best in four seasons. More importantly, I do admire the more accurate ability of plants to sense and adapt to the environment, than that of the cat. All of cherry blossoms which have blossomed out here and there is just going to paint the blue, April sky with falling blossoms, as if they've discussed when to do it. Even the sun seems as if it's preparing for summer. But even though the sun is scorching, the winds that blow down from the mountains are still chilly, reminding me of the altitude of this city I inhabit.

Some suggestions...

:That tells me that Spring has come, which is several months that I like best in four seasons.

This sounds very strange in English, but I think the meaning is clear. I would suggest: "That tells me that Spring has come, which is my favorite of the four seasons."

Reason: "several months" does not fit into "four seasons" - but one "favorite" season fits into "four seasons"

:"All of cherry blossoms which have blossomed out here and there is just going to paint the blue, April sky with falling blossoms, as if they've discussed when to do it."

The word "blossom" is used many times. This is not wrong, but it sounds strange. I would suggest: "All of cherry flowers which have blossomed here and there are going to paint the blue, April sky with falling petals, as if they've discussed when to do it."

Reason: It is strange to say "the blossoms have blossomed" - that is redundant. Instead, we can say the "flowers have bossomed." Also, we can say "falling petals" instead of "falling blossoms" because the whole flower does not fall.

Thank you.
But minor edits can be done by yourself because this site is a wiki!
I check the page periodically, so just to edit the page informs me.

--[[User:Akiha|Akiha]] 05:41, 19 April 2007 (PDT)

:"All of cherry flowers which have blossomed here and there are going to paint the blue, April sky with floating petals, as if they've discussed when to do it."

I don't like this sentence at all. It changes the meaning entirely. Secondly it now doesn't fit with Kyon's words beforehand.

He is making statements and remarks about the changing of seasons. Your new translation changes this so that he is now talking about the future. All of cherry flowers...'''are''' going to paint the blue... Also it speaks of cherry flowers, which if they exist at all (I don't think they do) are surely not large enough, or grow in such quantities to enough to paint the sky with anything. Typical anime whenever it mentions sakura petals (or blossoms, as the original translation took them as), these are falling off the trees in large amounts. The original translation of "cherry blossoms bloom as if they've discussed the way they're going to paint the blue, April sky with floating petals", does paint this typical picture. When talking of flowers, Smidge was just giving an example of how the word "bossomed" is used in English, rather than saying what should be used in the translation.

:Well, he asked for tips on his English, so that's what I did :p (I didn't want to edit the main page until it was "blessed off") Also, "flower" is a synonym for "blossom" as both a noun and a verb. Cherry trees do indeed [http://english.people.com.cn/200603/09/eng20060309_249202.html grow flowers]. What did you think made the trees that color? [[User:Smidge204|Smidge204]] 09:04, 19 April 2007 (PDT)

I don't think of them as quite synonymous, I associate a flower more with being a plant growing in the ground, and blossoms as the growth on trees.
Maybe it's just me, but when I first saw the sentence, this is the context I took it in, and it wouldn't even have occurred to me to take it as the flowers on trees. I wouldn't call apple blossom, "apple flowers" for example. (Even though, yes they strictly are).

--[[User:Shadowfall|Shadowfall]] 09:20, 19 April 2007 (PDT)

:Good thing they make these books called "dictionaries", then. Maybe you should [http://www.bartleby.com/61/80/B0338000.html pick one up sometime].

:blos·som (noun): 1. A flower or cluster of flowers. 2. The condition or time of flowering: peach trees in blossom. 3. A period or condition of maximum development. (verb) 1. To come into flower; bloom. 2. To develop; flourish

:I realize I'm being a prick about it, but the edit you made actually strays farther from the original wording than what we started with. If you "don't think" it should be worded a certain way, find out and be prepared to defend the change. Please don't take it personally, though... I always get pissy about larger edits. [[User:Smidge204|Smidge204]] 09:41, 19 April 2007 (PDT)

::I was browsing through recent changes, and hopefully I am not too late to defuse this, without starting something else...
::'''Smidge:''' as you may well know, dictionaries do not often say very much about cultural patterns and natural usage. A quick "googlefight" reveals "cherry blossom" as an overwhelming favorite, by an approximately 50:1 ratio, either in plural or singular form. Google is of course, not my only reason, but I merely mention it as a quick, easily understandable quantitative measure. While you ARE technically right, "cherry blossom" is pretty much the term to use if you want people to not wonder about the wording choice.

::In short, it is more "natural" sounding to most people. To accede to this could quite possibly be called conformist, yet writing is a mixture of conforming and defying expectations. If you defy expectations, you're calling attention to that particular place. Is there anything particularly special about the flowers/blossoms in that passage? And as a matter of pure opinion, using "flowers" instead of "blossoms" seems like a strange way to draw attention, unless you're trying to subtly say something about the narrator's English usage.

::And if you realize you're being a prick, well, that's actually a good thing. If you can realize it before you even begin, that's even better of course. I'm kind of wondering right now about my own conduct. But practically speaking, your point gets across much more clearly without bringing emotions into it. It does suck when the other person is obviously wrong and refuses to admit it, but even then, the best you can do by insulting is make them feel like shit and make you feel slightly better, as well as better than them, and leave the entire thing at an impasse.
::--[[User:The naming game|The naming game]] 11:42, 19 April 2007 (PDT)

Nice, asking me not to take it personally when you've just flamed me by telling me to go and buy a dictionary. Word it how you like then, I don't see why I should defend or try to contribute anything if you're going to take that tone.

Sorry for having to put this on your userpage Akiha ._.;

::'''Shadowfall:''' you really shouldn't take it personally, since I doubt Smidge has anything against you personally. Extrapolating from myself, I'd just say that everyone has occasional blind moments and also moments of extreme clarity. And sometimes we can't tell which is which. It just happens, and the best thing is to just pay attention to the constructive part only, thus "feeding" only that part. I'm not exactly the best one to be giving advice, as I have a much harder time doing this during face to face confrontations. (There is simply less time to count to 10, get hold of yourself, and then respond) But happily, I actually DID follow my own advice for something that happened today. Hooray!
::--[[User:The naming game|The naming game]] 11:42, 19 April 2007 (PDT)

Supplementary information from my Japanese Dictionary.
:Strictly, cherry blossoms in Europe and America are called "cherry blossom" because they are for the fruits collection on the other hand, cherry blossoms in Japan are called "cherry flower" because they are for the flower appreciation.
:(Original: 厳密には欧米の桜は果実採取用だから cherry blossom, 日本のは花観賞用なので cherry flower)

First of all, sorry for updating "blossoms" to "flowers" without permission. I didn't notice the reason to post it here instead of the wiki page. I was careless.

I think my sentence-level edit hasn't to be adopted.
It was translated before my guideline is created, which is to skip minor mistranslations.
To be strictly, there is many part such this. So I'm particular about it personally.

I don't have any idea which is better between "blossoms" and "flowers".

--[[User:Akiha|Akiha]] 11:22, 19 April 2007 (PDT)

:- ごめん、僕の日本語はまだ下手です。よかったら、僕の日本語の間違いを教えて下さい。確かにたくさんあります！
:- Sorry, my Japanese is not yet that good. Please feel free to point out any mistakes in my Japanese. I'm sure there are lots!

:- 「cherry flower」と「cherry blossom」とどっちがいいかのことは「collocation」というのことかもしれない。「cherry blossom」と「cherry flower」をgoogle.com（英語のサイト）で検索すると「cherry blossom」はもっと多い　。。。　（すみません、言えません。それに超遅く日本語を書います。）
:- Which is better out of "cherry flower" and "cherry blossom" is, I believe, what you would call "collocation." If you search for "cherry blossom" and "cherry flower" on google.com (the English site), "cherry blossom" has far more hits. (Sorry. I am unable to express this. Also, I write Japanese very slowly.) This indicates that it's more commonly used. In fact, I can't think of a single reason to use "cherry flower" unless it's the established name of something, or in a scientific context. Yeah, yeah, just because I can't think of any doesn't mean there aren't any...

:- ところで、日本には英語の「cherry flower」は本当に使っていますか？
:- By the way, in Japan, they really use the English term "cherry flower"?
--[[User:The naming game|The naming game]] 12:46, 19 April 2007 (PDT)

Sorry. I accidentally made you misunderstand my last reply.

''my Japanese Dictionary'' is really meant '''my English-to-Japanese dictionary in which each English word is defined in Japanese, is ordered in alphabet order, and is made by Japanese people.'''
The statement I quoted is intended for Japanese who study English.
In Japan, English was almost completely unused in communication. It is only used in logos and names of products, for example "Fate/Stay night". English names sound cool to Japanese people, although some(or most) Japanese can't understand the meaning of the name.
Thus "cherry flower" and "cherry blossom" literaly isn't used in communication. In other words, from Japanese point of view, the question doesn't make sense.

:I don't have any idea which is better between "blossoms" and "flowers".
is really meant
:I don't have any idea which is better between "blossoms" and "flowers" from English point of view.
I updated my QC guideline. If you have time, take a look for a detailed reasoning about this. [[User:Akiha]]

Do you want to learn Japanese?
Here is correction, but not all. Small suggestions are skipped. If you are eager to study more, request for them.

:Wrong: 「collocation」
:Correct: 「コロケーション」
:Reason: As mentioned above, If there is no particular reason, you should use Japanese. As with "collocation", Katakana-notation suffices.

:Wrong: 超遅く
:Correct: すごく遅く
:Reason: a collocation problem. "超遅く" sounds strange to me in the context. There is no sensible reason. Any way, it is strange. :/

:Wrong: 日本には英語の「cherry flower」は本当に使っていますか？
:Correct: 日本では英語の「cherry flower」は本当に使われていますか？
:Reason about "日本には": grammatical error. But It must be subtle to you, because I equally translate "日本には" and "日本では" into "in Japan"! hmm. I can't explain it well. Perhaps, it is related to the position(or viewpoint) of "日本" in the context... If you want to know more, request! Then, I'll give it a bit thought.
:Reason about "使っていますか？": grammatical error. This sentence's subject is "英語の「cherry flower」", so verb must be passive.
:*"使っていますか？"->"Does someone ''use'' something?"
:*"使われていますか?" -> "''Is'' something ''used''?."
:Thus, an alternative is
::日本では英語の「cherry flower」を本当に使っていますか？
:Be careful! Japanese sentence don't need to have a subject. In this context, "日本人" is real subject, because Japanese people take whoever lives in Japan as Japanese person. Japan is thought as homogeneous state by them unconsciously.

--[[User:Akiha|Akiha]] 01:53, 20 April 2007 (PDT)

akiha, thanks for the corrections! (I'm saying this in English to save you the trouble of correcting me yet again.)
--[[User:The naming game|The naming game]] 03:19, 20 April 2007 (PDT)
[[New_page_akiha]]
[[Spaces are allowed]]

=== Japanese banners? Need a Translator ===

Hello Akiha-san, I'm just wondering, if you got some spare time, can you help me translate into rough English what these banners say? I see them every day at work, and its driving me insane, not knowing what they mean.

You can see the picture of them here:

http://www.baka-tsuki.net/forums/viewtopic.php?t=1071

Any help you can provide is appreciated.

[[User:Onizuka-gto|Onizuka-gto]] 10:53, 21 April 2007 (PDT)

User talk:Akiha

2007-04-21T17:57:29Z

Dgreater1: I just removed my previous question :3

User talk:Akiha

2007-04-19T21:12:55Z

Dgreater1: Another question :3

Some suggestions for your English :)

:Shamisen no longer crawls into my bedding in the middle of the night. That tells me that Spring has come, which is several months that I like best in four seasons. More importantly, I do admire the more accurate ability of plants to sense and adapt to the environment, than that of the cat. All of cherry blossoms which have blossomed out here and there is just going to paint the blue, April sky with falling blossoms, as if they've discussed when to do it. Even the sun seems as if it's preparing for summer. But even though the sun is scorching, the winds that blow down from the mountains are still chilly, reminding me of the altitude of this city I inhabit.

Some suggestions...

:That tells me that Spring has come, which is several months that I like best in four seasons.

This sounds very strange in English, but I think the meaning is clear. I would suggest: "That tells me that Spring has come, which is my favorite of the four seasons."

Reason: "several months" does not fit into "four seasons" - but one "favorite" season fits into "four seasons"

:"All of cherry blossoms which have blossomed out here and there is just going to paint the blue, April sky with falling blossoms, as if they've discussed when to do it."

The word "blossom" is used many times. This is not wrong, but it sounds strange. I would suggest: "All of cherry flowers which have blossomed here and there are going to paint the blue, April sky with falling petals, as if they've discussed when to do it."

Reason: It is strange to say "the blossoms have blossomed" - that is redundant. Instead, we can say the "flowers have bossomed." Also, we can say "falling petals" instead of "falling blossoms" because the whole flower does not fall.

Thank you.
But minor edits can be done by yourself because this site is a wiki!
I check the page periodically, so just to edit the page informs me.

--[[User:Akiha|Akiha]] 05:41, 19 April 2007 (PDT)

:"All of cherry flowers which have blossomed here and there are going to paint the blue, April sky with floating petals, as if they've discussed when to do it."

I don't like this sentence at all. It changes the meaning entirely. Secondly it now doesn't fit with Kyon's words beforehand.

He is making statements and remarks about the changing of seasons. Your new translation changes this so that he is now talking about the future. All of cherry flowers...'''are''' going to paint the blue... Also it speaks of cherry flowers, which if they exist at all (I don't think they do) are surely not large enough, or grow in such quantities to enough to paint the sky with anything. Typical anime whenever it mentions sakura petals (or blossoms, as the original translation took them as), these are falling off the trees in large amounts. The original translation of "cherry blossoms bloom as if they've discussed the way they're going to paint the blue, April sky with floating petals", does paint this typical picture. When talking of flowers, Smidge was just giving an example of how the word "bossomed" is used in English, rather than saying what should be used in the translation.

:Well, he asked for tips on his English, so that's what I did :p (I didn't want to edit the main page until it was "blessed off") Also, "flower" is a synonym for "blossom" as both a noun and a verb. Cherry trees do indeed [http://english.people.com.cn/200603/09/eng20060309_249202.html grow flowers]. What did you think made the trees that color? [[User:Smidge204|Smidge204]] 09:04, 19 April 2007 (PDT)

I don't think of them as quite synonymous, I associate a flower more with being a plant growing in the ground, and blossoms as the growth on trees.
Maybe it's just me, but when I first saw the sentence, this is the context I took it in, and it wouldn't even have occurred to me to take it as the flowers on trees. I wouldn't call apple blossom, "apple flowers" for example. (Even though, yes they strictly are).

--[[User:Shadowfall|Shadowfall]] 09:20, 19 April 2007 (PDT)

:Good thing they make these books called "dictionaries", then. Maybe you should [http://www.bartleby.com/61/80/B0338000.html pick one up sometime].

:blos·som (noun): 1. A flower or cluster of flowers. 2. The condition or time of flowering: peach trees in blossom. 3. A period or condition of maximum development. (verb) 1. To come into flower; bloom. 2. To develop; flourish

:I realize I'm being a prick about it, but the edit you made actually strays farther from the original wording than what we started with. If you "don't think" it should be worded a certain way, find out and be prepared to defend the change. Please don't take it personally, though... I always get pissy about larger edits. [[User:Smidge204|Smidge204]] 09:41, 19 April 2007 (PDT)

::I was browsing through recent changes, and hopefully I am not too late to defuse this, without starting something else...
::'''Smidge:''' as you may well know, dictionaries do not often say very much about cultural patterns and natural usage. A quick "googlefight" reveals "cherry blossom" as an overwhelming favorite, by an approximately 50:1 ratio, either in plural or singular form. Google is of course, not my only reason, but I merely mention it as a quick, easily understandable quantitative measure. While you ARE technically right, "cherry blossom" is pretty much the term to use if you want people to not wonder about the wording choice.

::In short, it is more "natural" sounding to most people. To accede to this could quite possibly be called conformist, yet writing is a mixture of conforming and defying expectations. If you defy expectations, you're calling attention to that particular place. Is there anything particularly special about the flowers/blossoms in that passage? And as a matter of pure opinion, using "flowers" instead of "blossoms" seems like a strange way to draw attention, unless you're trying to subtly say something about the narrator's English usage.

::And if you realize you're being a prick, well, that's actually a good thing. If you can realize it before you even begin, that's even better of course. I'm kind of wondering right now about my own conduct. But practically speaking, your point gets across much more clearly without bringing emotions into it. It does suck when the other person is obviously wrong and refuses to admit it, but even then, the best you can do by insulting is make them feel like shit and make you feel slightly better, as well as better than them, and leave the entire thing at an impasse.
::--[[User:The naming game|The naming game]] 11:42, 19 April 2007 (PDT)

Nice, asking me not to take it personally when you've just flamed me by telling me to go and buy a dictionary. Word it how you like then, I don't see why I should defend or try to contribute anything if you're going to take that tone.

Sorry for having to put this on your userpage Akiha ._.;

::'''Shadowfall:''' you really shouldn't take it personally, since I doubt Smidge has anything against you personally. Extrapolating from myself, I'd just say that everyone has occasional blind moments and also moments of extreme clarity. And sometimes we can't tell which is which. It just happens, and the best thing is to just pay attention to the constructive part only, thus "feeding" only that part. I'm not exactly the best one to be giving advice, as I have a much harder time doing this during face to face confrontations. (There is simply less time to count to 10, get hold of yourself, and then respond) But happily, I actually DID follow my own advice for something that happened today. Hooray!
::--[[User:The naming game|The naming game]] 11:42, 19 April 2007 (PDT)

Supplementary information from my Japanese Dictionary.
:Strictly, cherry blossoms in Europe and America are called "cherry blossom" because they are for the fruits collection on the other hand, cherry blossoms in Japan are called "cherry flower" because they are for the flower appreciation.
:(Original: 厳密には欧米の桜は果実採取用だから cherry blossom, 日本のは花観賞用なので cherry flower)

First of all, sorry for updating "blossoms" to "flowers" without permission. I didn't notice the reason to post it here instead of the wiki page. I was careless.

I think my sentence-level edit hasn't to be adopted.
It was translated before my guideline is created, which is to skip minor mistranslations.
To be strictly, there is many part such this. So I'm particular about it personally.

I don't have any idea which is better between "blossoms" and "flowers".

--[[User:Akiha|Akiha]] 11:22, 19 April 2007 (PDT)

:- ごめん、僕の日本語はまだ下手です。よかったら、僕の日本語の間違いを教えて下さい。確かにたくさんいます！
:- Sorry, my Japanese is not yet that good. Please feel free to point out any mistakes in my Japanese. I'm sure there are lots!

:- 「cherry flower」と「cherry blossom」とどっちがいいかのことは「collocation」というのことかもしれない。「cherry blossom」と「cherry flower」をgoogle.com（英語のサイト）で検索すると「cherry blossom」はもっと多い　。。。　（すみません、言えません。それに超遅く日本語を書います。）
:- Which is better out of "cherry flower" and "cherry blossom" is, I believe, what you would call "collocation." If you search for "cherry blossom" and "cherry flower" on google.com (the English site), "cherry blossom" has far more hits. (Sorry. I am unable to express this. Also, I write Japanese very slowly.) This indicates that it's more commonly used. In fact, I can't think of a single reason to use "cherry flower" unless it's the established name of something, or in a scientific context. Yeah, yeah, just because I can't think of any doesn't mean there aren't any...

:- ところで、日本には英語の「cherry flower」は本当に使っていますか？
:- By the way, in Japan, they really use the English term "cherry flower"?
:--[[User:The naming game|The naming game]] 12:46, 19 April 2007 (PDT)

== Cultural differences ==
draft. just ignore this..
* haruhi novel : delibrately break grammar and length sentences to be difficult to read
* English novel : do not the thing Japanese one do???

== About some line in CLANNAD ==
<pre>
<0078> She only divided the meat at the center of the cutlet.
// カツの肉だけを真ん中からちぎる。
<0079> She presented me half of the bread along with the other half portion of the peeled cabbage dressing. *
// パンの半身とキャベツ半量と剥いだ衣を半分添え、俺の方に差し出す。
<0080> \{Kotomi} "Let's share it."
// \{ことみ}「半分こなの」
<\pre>

I'm not really sure about line 0079 since I have no idea about how cutlet sandwich looks like in and out ^_^

User talk:Akiha

2007-04-19T20:29:56Z

Dgreater1: Some question :3

Some suggestions for your English :)

:Shamisen no longer crawls into my bedding in the middle of the night. That tells me that Spring has come, which is several months that I like best in four seasons. More importantly, I do admire the more accurate ability of plants to sense and adapt to the environment, than that of the cat. All of cherry blossoms which have blossomed out here and there is just going to paint the blue, April sky with falling blossoms, as if they've discussed when to do it. Even the sun seems as if it's preparing for summer. But even though the sun is scorching, the winds that blow down from the mountains are still chilly, reminding me of the altitude of this city I inhabit.

Some suggestions...

:That tells me that Spring has come, which is several months that I like best in four seasons.

This sounds very strange in English, but I think the meaning is clear. I would suggest: "That tells me that Spring has come, which is my favorite of the four seasons."

Reason: "several months" does not fit into "four seasons" - but one "favorite" season fits into "four seasons"

:"All of cherry blossoms which have blossomed out here and there is just going to paint the blue, April sky with falling blossoms, as if they've discussed when to do it."

The word "blossom" is used many times. This is not wrong, but it sounds strange. I would suggest: "All of cherry flowers which have blossomed here and there are going to paint the blue, April sky with falling petals, as if they've discussed when to do it."

Reason: It is strange to say "the blossoms have blossomed" - that is redundant. Instead, we can say the "flowers have bossomed." Also, we can say "falling petals" instead of "falling blossoms" because the whole flower does not fall.

Thank you.
But minor edits can be done by yourself because this site is a wiki!
I check the page periodically, so just to edit the page informs me.

--[[User:Akiha|Akiha]] 05:41, 19 April 2007 (PDT)

:"All of cherry flowers which have blossomed here and there are going to paint the blue, April sky with floating petals, as if they've discussed when to do it."

I don't like this sentence at all. It changes the meaning entirely. Secondly it now doesn't fit with Kyon's words beforehand.

He is making statements and remarks about the changing of seasons. Your new translation changes this so that he is now talking about the future. All of cherry flowers...'''are''' going to paint the blue... Also it speaks of cherry flowers, which if they exist at all (I don't think they do) are surely not large enough, or grow in such quantities to enough to paint the sky with anything. Typical anime whenever it mentions sakura petals (or blossoms, as the original translation took them as), these are falling off the trees in large amounts. The original translation of "cherry blossoms bloom as if they've discussed the way they're going to paint the blue, April sky with floating petals", does paint this typical picture. When talking of flowers, Smidge was just giving an example of how the word "bossomed" is used in English, rather than saying what should be used in the translation.

:Well, he asked for tips on his English, so that's what I did :p (I didn't want to edit the main page until it was "blessed off") Also, "flower" is a synonym for "blossom" as both a noun and a verb. Cherry trees do indeed [http://english.people.com.cn/200603/09/eng20060309_249202.html grow flowers]. What did you think made the trees that color? [[User:Smidge204|Smidge204]] 09:04, 19 April 2007 (PDT)

I don't think of them as quite synonymous, I associate a flower more with being a plant growing in the ground, and blossoms as the growth on trees.
Maybe it's just me, but when I first saw the sentence, this is the context I took it in, and it wouldn't even have occurred to me to take it as the flowers on trees. I wouldn't call apple blossom, "apple flowers" for example. (Even though, yes they strictly are).

--[[User:Shadowfall|Shadowfall]] 09:20, 19 April 2007 (PDT)

:Good thing they make these books called "dictionaries", then. Maybe you should [http://www.bartleby.com/61/80/B0338000.html pick one up sometime].

:blos·som (noun): 1. A flower or cluster of flowers. 2. The condition or time of flowering: peach trees in blossom. 3. A period or condition of maximum development. (verb) 1. To come into flower; bloom. 2. To develop; flourish

:I realize I'm being a prick about it, but the edit you made actually strays farther from the original wording than what we started with. If you "don't think" it should be worded a certain way, find out and be prepared to defend the change. Please don't take it personally, though... I always get pissy about larger edits. [[User:Smidge204|Smidge204]] 09:41, 19 April 2007 (PDT)

::I was browsing through recent changes, and hopefully I am not too late to defuse this, without starting something else...
::'''Smidge:''' as you may well know, dictionaries do not often say very much about cultural patterns and natural usage. A quick "googlefight" reveals "cherry blossom" as an overwhelming favorite, by an approximately 50:1 ratio, either in plural or singular form. Google is of course, not my only reason, but I merely mention it as a quick, easily understandable quantitative measure. While you ARE technically right, "cherry blossom" is pretty much the term to use if you want people to not wonder about the wording choice.

::In short, it is more "natural" sounding to most people. To accede to this could quite possibly be called conformist, yet writing is a mixture of conforming and defying expectations. If you defy expectations, you're calling attention to that particular place. Is there anything particularly special about the flowers/blossoms in that passage? And as a matter of pure opinion, using "flowers" instead of "blossoms" seems like a strange way to draw attention, unless you're trying to subtly say something about the narrator's English usage.

::And if you realize you're being a prick, well, that's actually a good thing. If you can realize it before you even begin, that's even better of course. I'm kind of wondering right now about my own conduct. But practically speaking, your point gets across much more clearly without bringing emotions into it. It does suck when the other person is obviously wrong and refuses to admit it, but even then, the best you can do by insulting is make them feel like shit and make you feel slightly better, as well as better than them, and leave the entire thing at an impasse.
::--[[User:The naming game|The naming game]] 11:42, 19 April 2007 (PDT)

Nice, asking me not to take it personally when you've just flamed me by telling me to go and buy a dictionary. Word it how you like then, I don't see why I should defend or try to contribute anything if you're going to take that tone.

Sorry for having to put this on your userpage Akiha ._.;

::'''Shadowfall:''' you really shouldn't take it personally, since I doubt Smidge has anything against you personally. Extrapolating from myself, I'd just say that everyone has occasional blind moments and also moments of extreme clarity. And sometimes we can't tell which is which. It just happens, and the best thing is to just pay attention to the constructive part only, thus "feeding" only that part. I'm not exactly the best one to be giving advice, as I have a much harder time doing this during face to face confrontations. (There is simply less time to count to 10, get hold of yourself, and then respond) But happily, I actually DID follow my own advice for something that happened today. Hooray!
::--[[User:The naming game|The naming game]] 11:42, 19 April 2007 (PDT)

Supplementary information from my Japanese Dictionary.
:Strictly, cherry blossoms in Europe and America are called "cherry blossom" because they are for the fruits collection on the other hand, cherry blossoms in Japan are called "cherry flower" because they are for the flower appreciation.
:(Original: 厳密には欧米の桜は果実採取用だから cherry blossom, 日本のは花観賞用なので cherry flower)

First of all, sorry for updating "blossoms" to "flowers" without permission. I didn't notice the reason to post it here instead of the wiki page. I was careless.

I think my sentence-level edit hasn't to be adopted.
It was translated before my guideline is created, which is to skip minor mistranslations.
To be strictly, there is many part such this. So I'm particular about it personally.

I don't have any idea which is better between "blossoms" and "flowers".

--[[User:Akiha|Akiha]] 11:22, 19 April 2007 (PDT)

:- ごめん、僕の日本語はまだ下手です。よかったら、僕の日本語の間違いを教えて下さい。確かにたくさんいます！
:- Sorry, my Japanese is not yet that good. Please feel free to point out any mistakes in my Japanese. I'm sure there are lots!

:- 「cherry flower」と「cherry blossom」とどっちがいいかのことは「collocation」というのことかもしれない。「cherry blossom」と「cherry flower」をgoogle.com（英語のサイト）で検索すると「cherry blossom」はもっと多い　。。。　（すみません、言えません。それに超遅く日本語を書います。）
:- Which is better out of "cherry flower" and "cherry blossom" is, I believe, what you would call "collocation." If you search for "cherry blossom" and "cherry flower" on google.com (the English site), "cherry blossom" has far more hits. (Sorry. I am unable to express this. Also, I write Japanese very slowly.) This indicates that it's more commonly used. In fact, I can't think of a single reason to use "cherry flower" unless it's the established name of something, or in a scientific context. Yeah, yeah, just because I can't think of any doesn't mean there aren't any...

:- ところで、日本には英語の「cherry flower」は本当に使っていますか？
:- By the way, in Japan, they really use the English term "cherry flower"?
:--[[User:The naming game|The naming game]] 12:46, 19 April 2007 (PDT)

== Cultural differences ==
draft. just ignore this..
* haruhi novel : delibrately break grammar and length sentences to be difficult to read
* English novel : do not the thing Japanese one do???

=== About some line in CLANNAD ===
<pre>
\{ことみ}「\m{B}くん、こんにちは」
<0019> \{\m{B}} "Oh... Kotomi, I'm in a hurry so I'll talk to you later."
\{\m{B}}「おおことみ、今急いでるから後でな」
<0020> \{Kotomi} "Where are you going in such a hurry?"
\{ことみ}「そんなに急いでどこ行くの？」
<0021> \{\m{B}} "In the library. Kotomi is waiting so I'll see you later."
\{\m{B}}「図書室だって。ことみが待ってるから、またな」
<0022> \{Kotomi} "I see... See you another time then."
\{ことみ}「そうなんだ。それじゃまた今度」
<0023> \{Kotomi} "........."
\{ことみ}「………」
<0024> \{Kotomi} "And why is it?!"
\{ことみ}「ってなんでやねん」
<0025> \{\m{B}} "That's 85 points. It would have been better if you didn't pause one second before the tsukkomi." *
// Not entirely sure here because there weren't really any negative sentence in this line.
// The way I really perceive the line is "That's 85 points. It's good you paused one second before the tsukkomi." the next line is kinda vague using this line so I thought that this line might actually be in negative form. -DGreater1
\{\m{B}}「８５点だな。ツッコミ前のタメが１秒ぐらい長かった」
<0026> \{Kotomi} "I guess this really is difficult..."

I'm just confused with line 0025 because it seems the next line will be off if I use the line I really think is right :P --~~~~

Talk:Clannad:SEEN0416

2007-04-18T08:42:36Z

Dgreater1: /* Line 703. */

Please have a check at line 497 to 502, the lines are really confusing ^_^; Can someone explain what in the world is going on there?

<div class="clannadbox">
<pre>
<0487> Sunohara went toward some student to demand some money.
// 春原は早速通りかかった生徒に、せびりに向かう。
<0488> Sunohara has finally returned as the fifth period chime rang.
// 五時間目の始まるチャイムと共に、春原は戻ってきた。
<0489> \{Sunohara} "........."
// \{春原} 「………」
<0490> \{\m{B}} "So, how was it? Did you eat something good?"
// \{\m{B}} 「どうだった。うまいもん食えたか」
<0491> \{Sunohara} "I still haven't eaten anything..."
// \{春原} 「まだなんにも食ってない…」
<0492> \{\m{B}} "And why?"
// \{\m{B}} 「どうした？」
<0493> \{Sunohara} "I only manage to get 150 yen..."
// \{春原} 「１５０円までは集められたんだけどね…」
<0494> \{Sunohara} "I hit an unbelievable blockade..."
// \{春原} 「とんでもない落とし穴があったんだ…」
<0495> \{\m{B}} "It takes too much time, right?"
// \{\m{B}} 「時間がかかるんだろ？」
<0496> \{Sunohara} "Darn you! You should have said that earlier-----!"
// \{春原} 「てめぇ、先に言えよおぉぉーーーーーっ！」
<0497> \{\m{B}} "Well, I thought that it would go steady and will also be passed on to some generation."*
// \{\m{B}} 「いや、何代にも渡って、地道にやっていくのかと思って」
<0498> \{Sunohara} "As if doing something like that is simple!"*
// \{春原} 「んな地味なことやるかよぉーっ！」
<0499> \{Sunohara} "This is how my uncle's uncle, furthermore, that uncle have started..."*
// \{春原} 「これは、おじいさんのおじいさん、さらにそのおじいさんが始めたことなのよ…」
<0500> \{Sunohara} "Then, wouldn't I be grateful for that uncle!?"*
// \{春原} 「じゃあ、そのおじいさんに感謝だね！」
<0501> \{Sunohara} "But even if I'm grateful until my death, I wouldn't be happy!"*
// \{春原} 「って、死んでから感謝されても、うれしくねぇよ！」
<0502> \{\m{B}} "Maybe, but I don't think that it will increase your money by deducting your food expenses."
// \{\m{B}} 「たぶん、差し引きで食費のほうがかかるから、増えていくこともないと思うけどな」
<0503> \{Sunohara} "It's a mere disgrace then!"
// \{春原} 「じゃあ、単なる恥さらしじゃんっ！」
<0504> \{\m{B}} "Yeah."
// \{\m{B}} 「ああ」
<0505> \{Sunohara} "Darn it... I shouldn't have underestimated the economy situation."
// \{春原} 「くそぅ…日本の金融システム、侮りがたしっ」
<0506> It has no relation to the economy though.
// 金融システムはぜんぜん関係ない。
<0507> Sunohara suddenly put his face over his desk and pretended to be sleeping.
// 春原はふて寝を決め込んだようで、机に突っ伏してしまう。
</pre>
</div>

== Line 703. ==

If I'm not mistaken, it's possible to get this line without even meeting Kyou. (Why is that? Isn't that kind of contradictory?) Just something I was curious about. -Amoirsp
:Not really, remember that both of them knows about Kyou from long back then :3 --[[User:Dgreater1|Dgreater1]] 01:42, 18 April 2007 (PDT)

Talk:Clannad:SEEN4501

2007-04-18T05:28:08Z

Dgreater1: The violin case closing case :P

== About the Violin Closing Case of Line 515 ==
I don't really think Kotomi was the one closing the violin there, I mean, the guys
<br><br>
<0513> No words were spoken but I didn't really feel bad about that.<br>
<0514> 何かがひとくぎりついたような、祭りの後のような、不思議にがらんとした感じ。<br>
<0515> I remember something about Kotomi when they put the violin back to it's case.<br>
// This line could also mean "I remember something about Kotomi as I put the violin back to it's case."<br>
// I just ended up using "they" because because I don't think Tomoya would be the one putting the violin in its case... Oh wait! Tomoya catched the violin, so therefore he could also be the one who put the violin in its case... Need to clarify this somehow :3<br>
<0516> About how she carefully wipes the wooden surface that has a fading color of varnish, many times over.<br><br>
--[[User:Dgreater1|Dgreater1]] 22:28, 17 April 2007 (PDT)

User talk:Amoirsp

2007-04-17T20:24:57Z

Dgreater1: /* About the language reversal */

User talk:Velocity7

2007-04-17T17:47:26Z

Dgreater1: /* Arm and Hand */

Hello Velocity7, (a.k.a Image Editor)

I've notice that another user, specifically [[user:Nightsky87|Nightsky87]] have been contributing a large number of images. As i'am not familiar with that area, unlike your experienced self, can you please make sure that that any other image contributed are within the limits of the website, and that they are only novel related images?

Thanks

Sincerely,

[[User:Onizuka-gto|Onizuka-gto]] 04:29, 8 May 2006 (PDT)

Why did you revert "Endless Eight" back to "Endless August"? The title for this chapter in katakana is エンドレスエイト, as Kinny has said.

--[[User:GDsMDDLFNGR|GDsMDDLFNGR]] 17:57, 31 May 2006 (PDT)

ok ( ﾟωﾟ)

== moving pages ==

I see you just did a manual move of the text from the "Endless August" page to "Endless Eight". That is a bad way to do it, as the history of old page is lost. Please use the "move" option at the top of the page instead. I was actually just about to do that myself, but you beat me to it (it won't let me move a page to a name that already exists). I'll see if I can sort it out, but it may require a wiki admin....

--[[User:BlckKnght|BlckKnght]] 20:48, 31 May 2006 (PDT)

:Well, it looks like I don't have enough privaleges to fix it up completely. It's not a big deal though. Just one of the little details of wiki creation... You're solution would have been fine (except for really anal people like me ^_^; ). Once a wiki admin shows up we'll get it sorted out.

:--[[User:BlckKnght|BlckKnght]] 21:09, 31 May 2006 (PDT)

== Illustrations ==

sorry, I'll keep that in mind. [[User:Darkoneko|DarkoNeko]] <small>[[User_Talk:Darkoneko|talk]]</small> 04:27, 10 July 2006 (PDT)

== Re: Erasure ==

Yes, unfortunately when i rolled back

that small minor edit was reverted as well.

== Issue of Yellow Warning ==

The issue of the Yellow Card, was not to the user who made the referred edits concerning "insects" but to the user who erased script with no edit summary to explain his/her action.

She/he has the IP address of:

210.87.251.106

As so far as i'am aware of, the user who made the contribution, with the edit summary of:

<cite>
The original Japanese word is "バッタ(batta)", so "grasshopper" or "locust" is correct. Because "locust" is confused with "cicada" in USA, I think "grasshopper" is appropriate.
</cite>

Is identified by the IP of 210.87.251.107

I have double checked the logs, and I'am confident i have correctly identified the user responsible.

But I hve to stress that due to the anonymous nature IP identification that i'am aware that there can be a possibility that more then one user can have the same IP address due to the nature of dynamic IP and NAT.

If you still feel i have identified the wrong user, please provide me the IP identification of the correct user, and i will once again re-examine the evidence.

Sincerely,

Onizuka-GTO

== Accidental Erasure Possibility ==

I have considered that scenario and that may well be the case, but if that was accidental and the user has switch to a different IP, why did they not correct their mistake?

Failure to correct a known mistake is just as severe as deliberate vandalism.

Of course the possibility that the user is unaware that they are responsible for the action at that time, or that they may not been present during the issue of the warning or have not recent visited the wiki for some time.

In that case they have all the rights to appeal the decision, a simple contact with me or any member of the Baka-Tsuki Team, that will show Acknowledgement of their mistake and that they held the incriminating IP address, is sufficient for me to remove the warning.

Unfortunately, for there to be a complete and clear understanding of the incident to suggest a different motive for the clearly vandalistic action, communication of the accuse must be heard. Without it, they leave me no choice but to assume the worse.

If you are still not satisfied with my decision, may I suggest we continue this conversation via E-mail?

Sincerely,

Onizuka-GTO

* Thank you for bringing attention of 64.93.73.62
I have issued the appropriate notice.

As to answer your question, yes. All members of the Baka-Tsuki team has the responsibility.

The Editors more so, since we will be using the Wiki more often then the translator, and ensure it is pleasant for all round.

Of course as you will know we should always be vigile for any misjudge verdicts on our own counts, and i will hope you will always question your own verdicts as much as you have questioned mine.

(^_~)>

Sincerely,

Onizuka-GTO

== Color Illustration double-pagers ==

I think I've got some more free time for a few days, so let me know which ones are missing.

--[[User:GDsMDDLFNGR|GDsMDDLFNGR]] 06:32, 2 August 2006 (PDT)

Hmm can't seem to get a good scan... and I can't bring myself to really pull those pages apart ^^; will get back to you on this.

--[[User:GDsMDDLFNGR|GDsMDDLFNGR]] 08:33, 8 August 2006 (PDT)

== monobook.css update ==

hello Velocity7,

just read your message, (and that's just after checking my forum P.M)

If the monobook.css hasn't yet been updated, then i'll do it for you.

I'll also have to bump up darkoneko access level as well as i thought he had the power...

anyway, if you have got it done, just ignore this.

cheers.

regards,

[[User:Onizuka-gto|Onizuka-gto]] 02:51, 1 February 2007 (PST)

==untitled==
Hey,

It seems the Clannad translations have some issues with tenses. Is the main story supposed to be referred to in present or past tense?

I doubt it's a case of flashbacks, or time distortion, as the tenses are different in the same situation.

Cheers,

--[[User:Umiman|umiman]] 17:17, 12 February 2007 (PST)

== Re: Spacing and Name Changes ==

I mainly did the spacing due to the fact that that page looked particularly different compared to the other pages. Since it is not necessary, I'll try to aim for that last. I understand that "//" is to denote what was originally there or a slight commentary that does not go into the program or reading, however I find it is there to structure organisation. I was aiming at making it look more neat rather than correcting, though I can focus on other aspects instead. However, I suppose I forgot that for that same reason, anything after "//" does not need to be edited, even if there's typos. Well, I was unaware of {-- this is ignored --}. My computer science is horrid, so I'll look more into the manual to better understand the notations. I tried playing the game to hunt for some event codes until I realised I don't quite understand the computer science.

I inputted Young man due to the translation being written that way, so I ended up matching what the text used, forgetting the guidelines at that time. I suppose I should have changed what was in the text and used Young Man. That was my mistake, I apologise. So, now I changed the dialogue so that it says 'Young Man' on the text. It's one or the other, and I made the wrong decision, thank you for correcting me. I'm bound to miss something even if I read it often.

There are a lot of components I am not entirely sure of, so my judgment might be flawed. Like if the original text says \m{A} within dialogue, I look for that and possibly insert it. Though I won't look to into that too much since that would be direct translation seeking. Another portion would be British or American English, but since they're both used like half the time, I'm ignoring those until one is set in stone. Then there's the ellipses into an ending of a sentence, which would be four periods. I guess this is a worry for later, since there's some variance in these it seems. Hyphens and contractions can appear iffy to me (you might have noticed the fortune-telling edits or some de-contractions ... if that is a word, either for consistency or avoidance of possessive usage.). Punctuation rules would be the portion that's most iffy to me.

Well, I'll do my best to avoid hindering mistakes while making positive corrections. Pretty challenging, but it's a fun learning experience. Thanks again.

--Amoirsp 14:38, 14 March 2007 (PST) ... (I don't even remember how to put a time stamp)

== Tomoyo's Route ==

Sure, I'll hold out. :P I got excited when Jc started on the 24th one, but found it odd to have the 23rd blank, so I tried filling it in as much as I could. Then I realised how difficult it was not knowing Japanese, but at least I grasped the idea through the attempt. Since you are almost done, I'll await the new SEEN to edit. Though I might still tamper with it, and fail again, to improve interpretation. Thanks for the notification. =) (Fast translating speed you have there)

--[[User:Amoirsp|Amoirsp]] 22:49, April 11, 2007

== I'm confused about tenses with suddenly. (a bit long) ==

Project Administrator,

As you notice, in the game there are often scenes where something is said or done, then Tomoya says that's what was said or done. Would this be says or said? For example, Sunohara says "Haaa..." then Tomoya narrates that he sighs. Sunohara did/does sigh (I already get confused here, since you can also not put did/does, and put sighs/sighed instead), but it is current, so would the narration be sighs or sighed? (Also applies to someone said/says something, then Tomoya says that's what that person said/says) [I put says.]

There are also times when someone is getting out of his/her seat and then running off (ex: Fuuko). Tomoya describes the current actions, but it just happened (like a sudden response). It presently happened, but which tense is it? Getting out of the seat was before running off, so do those have separate tenses too? The action is simultaneous (implication of running out of the room) but they're two actions in a row. [I put gets up from the seat and runs out of the classroom.]

Also a question about 'soon after' just doing something. If it is being described, is it present or past? Tomoya described what he/they did, but that's what they did, so it's current with an implied transition that that's what they did. If it encompasses a period of time, like eating lunch, I would put ate. The other confusion is tensing an action that has 'soon after' or 'after that' in the same sentence. (Ex: We did this 'after that'. We do this 'soon after'. 'Soon after that' this is what we do/did. 'Soon after that' we do/did this.) Sentence ordering itself can vary, but the denotation of the tense is important.

I read on your guidelines about class ending. Based on that, it sounds like Tomoya would say 'class has ended', but it doesn't change the fact that while he's speaking presently, 'ended' is still past tense, even though 'has' implies it's current. Also, would such a case usually be superiour to say, 'class ends'? I'd put class ends because usually you have the bell rings before that. This can be analogous to 'one hour passed', but I would put 'one hour passes' (anything other than 'one' is more distinguishable due to forcing hour to be plural, because you can't use 'passes' unless it's singular. So, I would use passed instead of pass for three hours, because pass has many more meanings. I get slight confusion with past vs passed too, like 'one hour passes by' as opposed to 'one hour past by'.). However, these examples are a certain period of time happening, so it's a bit more clear, whereas I'm stumped with 'suddenly', 'getting up from the seat and dashing out of the room', and 'that's what he/she says'.

I'm getting confused in tensing these particular scenarios. As you notice, they're all rather similar, but they're all circumstantial. I just want to know how you distinguish them so I can match these more consistently. The class example is good, but these slightly vary. If you could provide me with a brief clarification, I would greatly appreciate the help.

-Amoirsp 4/13/2007 15:20

:Right now though, the nature of visual novels is also a bit convoluted to me in terms of tenses... for the most part, things do happen in present tense, but every once in a while Tomoya will also speak in past-tense, and sometimes future tense. It seems to be dependent on the situation and what kind of narrative he uses.<br><br>For the most part, you can expect him to speak in present tense, but there are going to be some exceptions here and there. --[[User:Velocity7|velocity7]]

:: I'll use my best judgment for now then and not worry so much about it, but as you know, such tensing like this happens almost all the time, so I wanted to minimise going the wrong direction. Thanks for the pointer. I'll think of a plan of how to tackle this so I can be a bit more consistent. -[[User:Amoirsp|Amoirsp]]

== Arm and Hand ==

Well I meant is I completely agree with those arm changes but I'm just particularly curious on line 0062, specifically. With your arm edits (I don't see "hand" so I do agree), why does Tomoya talk about holding a girl's hand if Tomoyo kept grabbing his arm? Before the changes since it was hand, this wasn't questionable. It's not you're wrong but rather don't you find that an odd transition? (Tomoyo does grab his hand a few occasions during the day, but with the arm edits, never before line 0062). [[User:Amoirsp|Amoirsp]] 4:00 April 17, 2007
:It is odd, yes. Maybe he still thinks of it as holding his hand, even though it's actually his arm? --[[User:Velocity7|velocity7]]
::I'll just make a self note that a girl is making huge effort to hold onto him. The other way I see it is it's near his wrist. You know, the area of the arm called ... the forearm? (I don't even know the name of the upper half of the arm.) At first I thought grabbing the arm was like arm lock sort of hold (which visually IS a bit much under Tomoyo circumstances). Would this be a possibility of how exactly the arm is held (makes more sense for the prying of the fingers too if it's the forearm)? It's more convincing if it's near the wrist, but the arm is pretty long for a hand to grab. :P Actually, Tomoyo IS holding near Tomoya's wrist, isn't she? Well, this is convincing enough, thanks. -Amoirsp
::: ... or they are holding hands, but when Tomoyo pulls on Tomoya, it's still pulling his arm, even if they were holding hands? Do any of these sound plausible? (I'm just thinking of imagery, as I find the text in terms of arm and hand good as it is) Big difference between arm pull (extending) and arm drag (literally) .-Amoirsp
::::We really need to interpret this correctly. As you can see she definitely grab a hold of his arm in line <0038> and after she lets go, she grab it again at line <0048>... Now, the problem is line <0061>...
:::::<0061> I look at my palm as this morning's homeroom lesson is about to start.
::::This sounded like Tomoyo was actually holding his hand, then line <0062> backed up that interpretation. And line <0063> is kinda implying that he doesn't feel bad about holding hands with her because he's unconsciously thinking that she's a girl. Or maybe I'm reading to much of it, or it could also mean that "ude" can be arm and hand at the same time. [[User:Dgreater1|DGreater1]] 1:43AM April 18, 2007 (Wednesday)

User talk:Amoirsp

2007-04-17T13:03:17Z

Dgreater1: Minor Edit