American Lawyers and Japanese School Students: A comparative analysis of the localizations of Ace Attorney and Persona
Maloe de Goeij
A master thesis submitted in partial fulfilment for the degree of Master of Arts in Translation Studies University of Amsterdam
Supervisor: Dhr. Dr. E.R.G. Metz
June 2018
TABLE OF CONTENTS
1 Introduction ...... 3 2 Theoretical Framework ...... 6 2.1 Translation Theories ...... 6 2.1.1 Frame Semantics ...... 9 2.1.2 Japanese-English translation ...... 12 2.2 Video games ...... 14 2.2.1 Video Game Localization and transcreation ...... 15 2.2.2 The influence of the internet ...... 16 3 Methodology ...... 19 3.1 Data scope and acquisition method ...... 19 3.2 Data analysis method ...... 20 4 Case study ...... 21 4.1 The games and game series: Ace Attorney and Persona ...... 21 4.1.1 The story ...... 21 4.1.2 The gameplay ...... 22 4.1.3 The localizations ...... 23 4.2 Presentation of the data ...... 23 4.3 Analysis of the data ...... 26 4.3.1 “False” frame match ...... 27 4.3.2 “False” frame mismatch ...... 30 4.3.3 Frame mismatch: option or servitude?...... 33 4.3.4 Frames differ, slightly to greatly ...... 37 4.3.5 Ambiguous cases ...... 42 4.3.6 Puns and jokes ...... 43 4.3.7 Names ...... 49 4.3.8 Japanese language specific expressions and words ...... 52 4.3.9 Translation mistakes ...... 59 5 Conclusion ...... 61 References ...... 65 Appendix ...... 67 Glossing abbreviations ...... 67 Frame created for this research...... 67 Research data from Phoenix Wright: Ace Attorney ...... 68 Research data from Persona Q: Shadow of the Labyrinth ...... 105
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1 INTRODUCTION
To the uninitiated, video games may seem like a trivial form of pastime or a waste of time. Since their emergence and rise to popularity, people have even wondered whether (some types of) video games could be detrimental to our health. However, no matter what your opinion on video games is, it is undeniable that – especially in the wealthier countries of the world – video games are more relevant and present in our lives than ever before. Whether it is in the form of the millions of apps on smartphones, the newest developments in virtual reality gaming, or the rising popularity of edutainment (education in the form of entertainment), fact is that the video game industry is thriving. However, it is not just these new areas of the video game industry that have enjoyed success in recent years. Now markets have started to recover from the 2008 global economic crisis, both home entertainment and handheld video game consoles are back on the rise and captivating audiences all over the world. As a result of this, when video game giant Nintendo released their latest console, the Nintendo Switch (which is actually a hybrid between a home and a handheld console) in March 2017, the company could not keep up with the demand for the system. For months stores around the world dealt with stock shortages because of the unexpected popularity of the Nintendo Switch (Martin 2017). Despite this, the company managed to sell an impressive 7.63 million units of the console worldwide by September 2017 (“CONSOLIDATED FINANCIAL HIGHLIGHTS” 2017, 8). Considering this, it is not surprising that the academic world has finally started to notice that there is a significant lack of research on most aspects of video games (Newman 2008, 8). Video games are no longer a simple, one-dimensional phenomenon. Unlike the first video games which usually consisted of a limited menu interface and a 2D image relaying the often simple and repetitive gameplay to the player, modern video games exist of an array of different assets, varying from life-like 3D models to lengthy clips of spoken dialogue and vast world maps the player can explore. These physical assets can oftentimes be experienced with multiple players, both live as well as online, in co-op or versus format. This multitude of facets and aspects make modern video games a relevant subject for a variety of different types of research. The majority of pre-2000 research on video games focuses on the (mental) health risks they could potentially pose to players (Ricci et al. 1998; Funk 1992; Scott 1995). However, since the start of the new millennium, scholars have started to recognize video games as a multi-faceted medium that can be studied from various points of view and is relevant to multiple fields of study. Some of these include sociology (Bryant and Vorderer 2006; Gabbiadini and Greitemeyer 2017), educational
3 studies (Khine 2011; Ru-Lan Hsieh, Wen-Chung Lee, and Jui-Hsiang Lin 2016; Gee 2003) and – as I will be doing in this thesis – translation studies. Translation studies itself is a relatively young field of study which has mainly concerned itself with literary translation between Indo-European languages, and only recently started to adopt multi- disciplinary studies and methods (Costales 2012, 391). One of these new fields of study focuses on the translation of video games, or as it is called within the video game industry, video game localization. Video game localization is a complex process (which I will elaborate on in chapter 2) and it poses a wide variety of translation problems to the translator. As Bernal-Merino (as cited in Czech 2013, 5) states in his 2007 article, while video games do not include any text types that are not also found in other media (e.g. computer software, films and series), the challenges involved with translating a video game are indeed very different from other media. Translators have to deal with complex storylines that may be extremely fragmented and presented in a non-linear format, context in the form of pictures and video they may not have access to at the time of translation and making sure not to change too much or too little during translation to avoid backlash from video game fanatics. This last matter of deciding to significantly change an aspect of a source text during translation is something that is quite uniquely prevalent to video game localization, and within the industry it is commonly referred to as transcreation. While loyalty to the source text – whether this is loyalty to the information presented or loyalty to the style – is usually considered the most important factor for assessing the quality of a translation, within video game localization this is sometimes considered to be less relevant. Instead the localizer is often given the freedom to change, add or remove any number of cultural references, jokes or even entire scenes or levels in a video game in order to give the player the best possible experience (Hevian 2007, 309). From this, I hypothesize that using this strategy during the localization of a video game has a significant impact on multiple aspects of the final product such as humor, characters’ personalities, the flow of conversations and cultural references. Studying the effects of transcreation in detail and determining what aspects of a target text are most affected by it, may offer valuable information to translators. If a translator has a better insight as to what translation problems transcreation may cause or help to solve, how it might change their translation and whether that is what their audience desires, they will be able to make a more informed choice as to whether they want to employ it as a translation strategy or not. In my bachelor thesis (de Goeij 2016, 16) on the challenges in video game localization I touched briefly on transcreation as a translation strategy and its significance within video game
4 localization. However, because of its importance I will study it in more detail in this thesis and attempt to determine and analyze in exactly what way the translated text is affected when translators decide to transcreate. Consequently, the main research question for this research is: “How does transcreation as a translation strategy in video game localization affect the translated linguistic assets?” To be able to give an adequate answer to this broad question, I will first attempt to answer two sub-questions: 1. “How does transcreation as a translation strategy in video game localization affect general text meaning?” 2. “How does transcreation as a translation strategy in video game localization affect specific linguistic target text elements such as cultural references and humor?” Another aspect of transcreation is the adjustment of images and animations, but since this thesis is written from a translation studies perspective, that is beyond the scope of this research. To find an answer to these research questions I will perform a case study on two Japanese role-playing games (hereafter JRPGs) from two video game series of which one is known for its extremely transcreated English translation, while the other is known these days for being kept as close to the original as possible. These video games are respectively called Phoenix Wright: Ace Attorney – Dual Destinies and Persona Q: Shadow of the Labyrinth. I will gather data from both games and compare the original Japanese versions to the localized English versions and then analyze the results to see whether there is any significant difference to the amount or type of changes that occurred during translation. However, before I do this, I will first illustrate the academic context in which this research takes place by giving an overview of the main fields of study and the most relevant theories that concern this research.
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2 THEORETICAL FRAMEWORK
In order to establish which theories and facts form the foundation for this research, this chapter will provide an overview of several fields of study and discuss secondary sources that are of particular relevance. In presenting the secondary sources and theories, I will attempt to highlight their qualities and flaws and in what way they are useful to this research. The two main subjects of this research, video games and translation, will be the main topics at hand in this chapter. During the introduction of these topics, I will also present definitions of the terms used in this thesis. The first part of this chapter consists of a short overview of the theories within the field of translation studies that are the most easily applicable to the translation of video games. I will then elaborate on the theory that I will use in the methodology of the case study on the two video games. Similarly, I will dedicate a separate section to the few works that have been written on the subject of Japanese-English translation, since most existing translation theories have been written with a focus on Indo-European languages. On the topic of video games this chapter will serve to introduce the concepts the reader needs to be familiar with to have a better understanding of the analysis of the case study data in chapter 4.
2.1 TRANSLATION THEORIES
Ever since scholars first started to write theories about translation practice and product and started to debate what the qualities of a ‘good’ translation were, one of the central conversations has been about literal translation as opposed to free translation (Munday 2016, 31). Literal, or ‘word-for- word’ translation refers to the concept of translating a text from one language into the other while transferring the meaning of each individual word directly. Free, or ‘sense-for-sense’ translation refers to the concept of translating the meanings that are conveyed by the words of the source text (hereafter ST), instead of translating the individual words. This juxtaposition of free versus literal is very relevant to the topic of transcreation, since transcreation claims to be the freest type of translation and even claims to surpass translation altogether. It is also the very core of this research, since I will be studying how ‘free’ the translation of a very transcreated video game is, as opposed to one that was translated in a more literal way. However, when discussing this topic in depth, these two concepts are too vague to be functional in a case study methodology. One could beg the question “What exactly counts as literal translation?” For example: The word ‘cheese’ seems easy to translate literally, but is the Dutch word ‘kaas’ really the literal
6 translation of the word ‘cheese’, if without any further context or clarification an American person imagines sliced and pre-packaged cheddar and a Dutch person imagines a large block of Gouda cheese, and both of these people think of wildly different connotations to the words? On the other hand, one can ask whether it is truly possible to grasp the true sense or meaning of a ST as a whole or even parts of it. Most of the time there is no telling whether another person would interpret a ST the same way, or whether a translator is interpreting it the way it was intended by the author. If this is not possible, then what ‘sense’ is a translator translating, if not the literal meaning? In short, this means that though it is a useful guideline and base concept, these uncertain factors make the free versus literal debate less useful in a more detailed case study. A more detailed theory that is often mentioned in research on video game localization (Costales 2012, 392; Mangiron and O’Hagan 2006, 20; Gillberg 2013, 3–4; de Goeij 2016, 6) is Vermeer’s skopos theory. This theory presumes that every ST has a specific purpose, or ‘skopos’, and that this purpose dictates how the text should be translated. Six rules form the core of this theory: “1. A translational action is determined by its skopos. 2. It is an offer of information in a target culture and target language concerning an offer of information in a source culture and source language. 3. A target text does not initiate an offer of information in a clearly reversible way. 4. A target text must be internally coherent. 5. A target text must be coherent with the source text. 6. The five rules above stand in hierarchical order, with the skopos rule predominating.” (Munday 2016, 127) Though the skopos theory has been rightfully criticized for not being applicable to all types of text since the skopos of a text is not always as clear as the theory presumes (Munday 2016, 130), it is a theory that is very easily applicable to video game localization. The reason for this is that the main purpose of a video game is simple: from a consumer’s perspective it is to be as entertaining as possible and from a game developer’s perspective it is to sell as much as possible. These two perspectives are closely connected because if the game is not entertaining, it will most likely not sell well. It is also noticeable that within this theory, coherence with the source text has a very low priority, which is again easily applicable to the practice of video game localization. However – like I argued in my bachelor thesis – while the skopos theory is useful to describe and make sense of video game localization as a process, it does not give much insight on the more minute details within a ST or target text (hereafter TT). This is why even though I argue that it is an important theory to keep in mind, it is not the right theory to apply when studying translation product on the sentence or word level. A slightly more practical theory is Toury’s descriptive translation studies method. This method presumes that a TT has a certain place and status within the target culture and that this is
7 the determining factor in what kind of translation strategy is used. To be able to study translation based on this hypothesis, he constructed a three-step process that can be applied to a ST-TT pair and then repeated on other texts to be able to draw significant conclusions about the translation strategies used in a group of similar texts. This three-step process is as follows: “1. Situate the text within the target culture system, looking at its significance or acceptability. 2. Undertake a textual analysis of the ST and the TT in order to identify relationships between corresponding segments in the two texts. Toury calls these segments 'coupled pairs'. This leads to the identification of translation shifts, both 'obligatory' and 'non-obligatory'. 3. Attempt generalizations about the patterns identified in the two texts, which helps to reconstruct the process of translation for this ST-TT pair.” (as summarized in Munday 2016, 175) Though this three-step guide seems very practical, and Toury stresses the importance of using the ‘coupled pairs’ during the analysis, he offers many examples but no clear definition of what these ‘coupled pairs’ are and how exactly one is supposed to compare them (Toury 2012, 115–30). Furthermore, the concept of a ‘translation shift’ is not detailed enough when discussing transcreation. There is a big difference between changing a ST verb into a noun in the TT and removing an entire sentence and replacing it with something with an entirely different meaning, but these two could both be marked as translation shifts. One extremely detailed and practical method for studying translation product is Vinay and Darbelnet’s theory consisting of seven identifiable translation procedures belonging to two overall translation strategies. As explained in Munday (2016, 88–92), this method prescribes that the researcher first identifies the ‘units of translation’, which are ST and TT pairs of words or word groups that correspond to one another. Then, each unit of translation is analyzed and assigned one or more of the translation procedures to determine what kind of change (if any) has occurred during translation. One strategy is direct translation, which is comparable but not identical to the concept of word-for-word translation I introduced in the beginning of this section. Direct translation can be split up into three translation procedures: 1. Borrowing (transferring the source language (hereafter SL) word directly to the TT without changing it) 2. Calque (literally translating different parts of the SL word to create a neologism) 3. Literal translation (translating literally without changing the grammatical, denotative or connotative meaning). The second strategy, oblique translation, is comparable to sense-for-sense translation and it can be split up into four translation procedures: 1. Transposition (translating a part of speech with a different part of speech) 2. Modulation (changing the semantics and point of view of a word or
8 group of words) 3. Équivalence (replacing an idiom or a saying in the ST with a target language (hereafter TL) idiom or saying with the same meaning) 4. Adaptation (changing cultural items in the ST and replacing them with items from the target culture which might have similar connotations). A notable addition to this theory is the distinction between what Vinay and Darbelnet call option and servitude (as cited in Munday 2016, 93). While the translation strategies and procedures explained above can tell the researcher what changes were made during translation, the concepts option and servitude can help to identify whether these changes were voluntary or not. In other words, it can help answer the “why” question. Servitude occurs when a modulation or transposition was unavoidable because of structural differences in the two languages, while option occurs when changes are made based upon the translator’s own preferences. Due to the fact that this theory is very detailed and attempts to reveal even the smallest changes that occur during translation, I elected to use it in the methodology of my bachelor thesis. Using Vinay and Darbelnet’s model, I analyzed a set of data from the video game Pokémon Omega Ruby and its official translation. However, during my analysis I ran into several issues pertaining to the application of the theory to the data at hand. Roughly 22% of the data I analyzed, resisted categorization according to Vinay and Darbelnet’s model (de Goeij 2016, 22). Of that 22%, a large portion consisted of very ‘free’ translations that deviated so extremely from the ST that none of the categories in Vinay and Darbelnet’s model applied (de Goeij 2016, 25). Additionally, determining when multiple words were one single unit of translation and when they were actually multiple shorter units of translation was a rather subjective process filled with trial and error. A different problem with the use of Vinay and Darbelnet’s model was that a large portion of the changes I found were likely to just be a result of the differences between the Japanese and English languages (de Goeij 2016, 27). While identifying these differences can be interesting in research on these two languages, it merely skews the data when attempting to determine what kind of changes in translation a specific translation strategy causes. For this reason, I decided against using this theory for the current research and attempted to find a theory, model or method that could (for the most part) eliminate the interference caused by the fact that Japanese and English are two very differently structured languages.
2.1.1 Frame Semantics
While searching for a practical theory or model for the analysis of my case study data that could be applied to both the Japanese-English language pair and video game localization, I encountered an article that analyzed English to Japanese translations using the Berkeley FrameNet project
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(Hasegawa, Lee-Goldman, and Fillmore 2014). The FrameNet project is a database that is publicly accessible through the URL “https://framenet.icsi.berkeley.edu”, that uses the theory of frame semantics to categorize the English language and make connections between form and meaning visible. In their article Hasegawa, Lee-Goldman and Fillmore (2014, 194) concluded that this database is versatile and abstract enough to be used on multiple languages, including languages with a basic structure that differs from English, like Japanese. Additionally, a version of FrameNet specifically for Japanese has also been created. The basic concept of frame semantics was derived from the general concept of frame that is used in cognitive sciences (Fillmore and Baker 2015, 792). In this context ‘frame’ is a word used to express the bundles of concepts humans use to make sense of the world around them. A frame is a set of pieces of knowledge and beliefs that ‘belong together’. They are formed by, and to a certain extent shape our experiences and influence the way we think about and remember things. Most of the time these frames, though present, are so integrated into our daily lives that they are not part of a conscious thought process (Fillmore and Baker 2015, 796). For example, when we think of selling something, there are many concepts we automatically associate with that action: The seller (yourself), the buyer, the object that is sold, the money that is received in return and sometimes even the time or place at which the action is completed. All of these concepts are part of one particular cognitive frame. Many frames are universal to human beings, simply because we all have similar bodies that are subjected to similar experiences (e.g. pain, warmth, tiredness), live in and travel to similar environments (e.g. houses, towns, forests, etc.) and perform similar interactions with others (e.g. talk, fight, joke, etc.) (Fillmore and Baker 2015, 792). However, there are some frames that are specific to certain (or multiple) cultures and time periods. A person from the 15th century would not know what a computer is and what concepts are associated with it, while someone from the Netherlands might not understand the implications of a Japanese person using a face mask (which is usually because they have a cold and do not want to infect others). While in general ‘frame’ is a cognitive concept and not a specifically linguistic one, in frame semantics (as well as in this thesis) this term is used to describe a cognitive frame that is linked to a lexical unit (hereafter LU). That is, frame semantics (and with it FrameNet) is based on the principle that words, when placed together with other words and processed by a competent speaker of the language, bring to mind, or in other words, evoke certain frames (Hasegawa, Lee-Goldman, and Fillmore 2014, 171). It is this focus on context and meaning (instead of pure linguistics or grammar), while still enabling the researcher to look at translation on the word and sentence level, that makes this theory uniquely suited to this research.
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To make frame semantics a more practical and useful theory, a team of researchers at the University of Berkeley started a project they called FrameNet. As stated above, FrameNet is an online database that is dedicated to defining and mapping frames and showing the links between them. In the database’s frame index, each frame is first given a name. Then, in the frame’s index entry, a definition of the frame is added and a set of frame elements (hereafter FEs) is assigned to it. These FEs are the different concepts that belong to the frame and they consist of core FEs (those elements that are center to the frame and are usually present when referring to the frame) and non- core FEs (elements that can belong to the frame but can also easily be left out). Finally, a set of frame relations is added, in which the frame is connected to other frames in terms of perspective, degree of specificity and causative relations, among others. For example, the frame Committing_crime is defined as: “A Perpetrator (generally intentionally) commits a Crime, i.e. does something not permitted by the laws of society.” This frame’s core FEs are Perpetrator and Crime, and its non-core FEs include Explanation, Frequency, Instrument, Manner, Means and more. Some of the frame to frame relations are that it inherits from Misdeed, it is inherited by Abusing, Kidnapping and Theft and it precedes Criminal_Investigation. In this thesis, the frames and their FEs are presented in different fonts and written with capital letters for the purpose of clarity. As becomes apparent from this explanation, by using the frame index, one can investigate the core meaning of a set of words without interference from grammatical structures. This means that FrameNet acknowledges that while two words might have different grammatical properties, they can call to mind very similar situations (Hasegawa et al. 2011, 109). That is, they evoke the same frame. However, like most theories (and especially one that is so new), frame semantics has flaws and blind spots which need to be kept in mind while using FrameNet as a model for research. Firstly, while many frames (like the previous examples of selling and committing a crime) are based around an action, there are frames that are based around objects or states of being. This often causes frames in a single sentence to overlap and have the LUs of the sentence belong to multiple frames. For example, in the sentence “Martha carried a bag full of sand.” one identifiable frame pertains to the action Bringing (‘carried’) of which the FEs are Agent (‘Martha’) and Theme (‘a bag full of sand’), while another identifiable frame pertains to the state of being Fullness (‘full’) of which the FEs are Container (‘bag’) and Contents (‘sand’). In this case the FEs present in the Fullness frame only cover ‘a bag full of sand’, while the rest of the FEs ‘Martha carried’ fall outside of the frame. Meanwhile, FEs included in the Bringing frame cover all LUs of the sentence. Therefore, one could argue that Bringing is the major frame in this sentence. However, as sentences get longer and more complex,
11 more frames will be included, which could possibly cause more overlap. This could complicate the process of sentence analysis because it might be unclear which frames are the major frames. Looking at every single frame in the sentence would technically be possible, but because of time constraints that goes beyond the scope of this thesis. Secondly, most previous research on frame semantics that uses FrameNet has focused on the analysis of informative texts (Friberg Heppin and Toporowska Gronostaj 2014; Hasegawa, Lee- Goldman, and Fillmore 2014; Hasegawa et al. 2011). Because of the lack of previous research, it is still unclear how useful exactly the model is for the analysis of texts with a purpose other than to offer information to the reader. For example, novels or even film scripts, which may rely heavily on jokes and plays on words for their entertainment value. Since the art of making puns relies on the presence of ambiguity of meaning, it might be difficult to determine the frames in such cases. Thirdly, while the FrameNet model is very useful to determine ST-TT loyalty (by comparing the presence or absence of frames and frame elements, and thereby comparing the core meanings of ST and TT), loyalty to the source text is not preferred in all translations. Depending on the skopos of the text, the accuracy of a translation could even be largely irrelevant (Hasegawa, Lee-Goldman, and Fillmore 2014, 195). This shortcoming is of course no problem for the current study since its very purpose is to attempt to determine how similar a transcreated text is to its original, and not to assess the quality of the translations. Finally, at the most detailed level of meaning, this model does not provide much nuance. A hamburger and a bowl of miso soup are interchangeable with the word ‘food’ in a sentence like “She quickly finished her food”. A frame-based analysis would not find any difference in frame or FEs, no matter whether the sentence concluded with ‘food’, ‘hamburger’ or ‘miso soup’. However, I will be using this model for just the part of my case study that is aimed towards finding similarities and differences in the overall meaning of sentences. I am therefore confident that the second part of the case study analysis will make up for this shortcoming. The second part of my case study will focus on the smaller details of the translation that frame semantics will unlikely be able to pick up on. Since it is likely that the types of changes found in the data will be very diverse, no one methodology or theory would be applicable to all parts of the data. Therefore, I will perform a qualitative analysis by taking examples and sorting them into categories. I will then gloss each example and discuss the changes made during translation in detail.
2.1.2 Japanese-English translation
Despite its importance in the modern-day translation industry (because of the large amount of computer hardware and software that is exchanged), the Japanese-English language pair suffers
12 from a severe lack of proper research in the field of translation studies. Traditionally, western translation studies have focused mainly on Indo-European language pairs, most of which use the same alphabet and are (partly) typologically and ancestrally related (Wakabayashi 1991, 414). This means that most existing translation theories were created for the analysis of, and tested mainly on languages like English, Spanish, French and German. As I mentioned in the first part of this chapter, I found in my bachelor thesis (de Goeij 2016, 27) that this causes compatibility problems between translation theories and languages like Japanese. The theories sometimes over-explain what is simply a typological difference between two languages, and fail to explain some other translation practices unique to language pairs with different ancestry. There is one author who has produced (or co-produced) the few pieces of academic literature that presently exist that focus purely on Japanese-English translation, and that is Yoko Hasegawa (Hasegawa, Lee-Goldman, and Fillmore 2014; Hasegawa 2012). Hasegawa’s Routledge Course on Japanese Translation (2012) is the only academic book I have managed to find that discusses various existing main-stream translation theories in relation to the Japanese language, and comments on their limited applicability. However, other than her work on the development of FrameNet, she has not created a translation theory that is better suited to explaining Japanese- English translation phenomena. In terms of language typology, English is classified as a mainly analytic language (which means that it relies mainly on separate words and word order to convey meaning), while Japanese heavily favors agglutinative structures (which means that it mainly conveys meaning through the inflection of words) (Hasegawa 2014, 3). This basic difference – combined with other factors like the fact that Japanese tends to use onomatopoeia to describe the manner of actions, while in English the manner is usually integrated into the verb stem (Hirose 1981, 1) – means that changing parts of speech and grammatical structures during Japanese-English translation is impossible to avoid. Additionally, the grammaticalization of respect (Hasegawa 2014, 255), the existence of benefactives (Hasegawa 2014, 164), and the common usage of sentence final particles (Hasegawa 2014, 293), are all integral elements of Japanese that are difficult to convey in English and thus are forcibly omitted in translation. In Vinay and Darbelnet’s terms, it means that servitude to the source language is much more frequent with the Japanese-English language pairs than with typologically related languages. While there is a lack of substantial research on Japanese-English translation, I have found many instances where scholars make some mention of a translation difficulty related to this language pair in works on other subjects such as video game localization. In her article on transitive and intransitive constructions in Japanese and English, Luk has found that while Japanese prefers
13 sentence constructions that describe actions as though they happen spontaneously, English prefers constructions that directly involve the actor performing the action (Luk 2014, 779). In her article on the prioritization of entertainment value in video game localization, O’Hagan acknowledges that Japanese-English translation is very challenging because Japanese uses ideographs which can contain a lot of meaning in relatively few characters compared to English (O’Hagan 2009, 154). Gillberg (2013, 16) reiterates this and adds that even the two phonetic alphabets of Japanese, hiragana and katakana, do not match up with English in terms of meaning nuance.
2.2 VIDEO GAMES
As stated in the introduction of this thesis, it was not until relatively recently that the academic world has started to consider video games as a worthy study subject. Contributing to this belated conclusion is the fact that new media like video games are usually met with initial resistance and suspicion by older generations (Hung 2011, 2). By now, video game studies has grown out to be a multidisciplinary field of study that covers subjects of a wide range, from the economics of the video game industry to the portrayal of gender in video games (Newman 2008, 8). However, most of these sub-categories of video game studies bear very little relevance to this thesis and thus will not be discussed in detail. In this section I will introduce and define the basic concept of a video game for the purpose of clarity. The answer to the question “what is a video game?” might seem clear-cut at first glance, however with the extremely wide range of genres of electronic entertainment that presently exists, it is important in a thesis like the present one to clarify what the term ‘video game’ refers to exactly. Firstly, to be considered a video game, the medium must be electronic. Secondly, electronic simulators and training programs that have education as their sole purpose (such as military operation simulators and driving simulators) are not considered video games in this thesis; games must have an element of entertainment to them. Lastly, this thesis only considers a piece of software to be a video game when there is some form of negative consequence when the player does not succeed at the task the software presents them with. This means that interactive visual novels in which the player merely decides which way the story progresses (i.e. it is impossible to fail), do not classify as video games according to the definition in this thesis. In summary, what is considered a video game in this thesis is: “A piece of software for an electronic medium, the main purpose of which is to entertain the player, and which offers some kind of negative consequence when the player fails.”
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The above definition includes many of the currently existing genres of video games, though genre itself is a complex concept within the video game medium. While older video games were easily divisible into a set of unambiguous genres like platformer, shooter or racing, many modern video games defy such categorization due to their multitude of gameplay and design facets (Costales 2012, 392). For example, one of the game series used in the case study of this thesis, Phoenix Wright: Ace Attorney, is (in)famous for defying the norms of what a video game is normally considered to be and is especially hard to put into one of the existing genres (Gillberg 2013, 9). It is almost like an interactive visual novel in the sense that there is no action-based gameplay involved, and it is very text heavy. However, it is indeed a video game because when the player selects the wrong answer, they are given a penalty.
2.2.1 Video Game Localization and transcreation
Like with the term ‘video game’ it is necessary to briefly explain what is considered to be ‘video game localization’ in this thesis. Video game localization, as it is defined in this thesis, is the process of adapting textual and non-textual assets of a video game to make it suitable for markets in different countries and cultures. That is, unlike translation which refers to a concrete action of translating a string of text from one language into another, video game localization is a process that involves all kinds of experts including managers, graphic artists, voice actors, translators, editors and quality controllers. A ‘localization’ of a video game then, is the resulting product of this complicated process. While it has been getting more attention in recent years, video game localization is still not a subject that has been studied in depth in a lot of instances. Many of the articles that focus specifically on video game localization serve mainly to introduce the basic concepts and challenges of the localization process and do not go into detail (Costales 2012; Bernal-Merino 2007; Czech 2013; Mangiron and O’Hagan 2006; Hevian 2007). There are a few academic works that are exceptions to this. Costales (2014) discusses how translators of super hero video games have to find a balance between being loyal to the original version of the game and being loyal to the previously existing translations of the comic books, performing a case study on the localization of the game Batman Arkham Asylum. Mangiron (2013) describes the various unique aspects of the use of subtitles in video games, though her article doesn’t include any specific case study. Many of the works I have mentioned above emphasize that in order for a localization to be successful, it should “retain the look and feel of the original” while providing players with an experience as though the video game was developed in their own language (Mangiron and O’Hagan 2006, 14). To achieve this, all elements in the game that make the player aware that this game was
15 not originally intended for them and in the process ruin immersion, should ideally be removed or replaced (Chandler and Deming 2012, 110). This transformation of the source material that goes beyond accurately translating of a body of text is what Mangiron and O’Hagan (2006) have dubbed transcreation. In practice, matters that most often restrict transcreation are budget (every image or animation that is altered costs more money) (Mandiberg 2015, 240) and franchise loyalty (a player expects a character to have the same name throughout a series of games and between books, movies, games and other media) (Bernal-Merino 2007, para. 5). Two particularly relevant works on the subject of transcreation are two theses, one by Mandiberg (2015) on the localization industry’s cultural responsibilities towards the audience, and another by Pelletier-Gagnon (2011) on the American video game localization industry’s attitude towards Japaneseness. Both of these works essentially discuss the strategy of transcreation to deal with culturally specific ST elements, though Pelletier-Gagnon does not use this specific term. Mandiberg heavily argues that using transcreation for the purpose of removing culturally specific items and situations is a fallacy that only serves to dumb-down the audience by refusing to expose them to foreign cultures. Therefore, he does not consider this to be proper translation practice and calls for the industry to stop erasing cultural elements from video games during localization. Pelletier-Gagnon, however, acknowledges the drawbacks of transcreation but also highlights its benefits and does not focus as heavily on moral judgement. However, unlike the present study, neither of these researchers look at this phenomenon more closely than scene level. Since the purpose of this research is to analyze in detail what happens to the TT when transcreation is applied to help localization specialists to make decisions that suit their purpose, I do not consider it my place to make a value judgement on this matter in this thesis.
2.2.2 The influence of the internet
The impact the internet and internet culture has had on the video game (localization) industry, is not often mentioned by scholars when discussing video game localization. Because of this lack of thorough research on this subject, it is difficult to make any definitive assertions, but I will now state two main hypotheses which may help to further make sense of the possible results of my case studies in chapter 4. Both of these hypotheses relate to how the worldwide gaming community has evolved and educated themselves and one another through the use of the internet, and – despite what the academic world has said about video game localization practice – how this might have started to affect the practice of transcreation.
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Like James Newman (2008, 12–13) discusses in his book on the audience’s interaction with video games, even single-player video games usually are not enjoyed in a complete vacuum in this day and age. The internet allows a player to look at reviews before even purchasing the game, discuss their experience of playing games with other players on the other side of the world, make and share artwork, fiction or even fan-made games based upon commercially distributed video games, and much more. Some video game fans even end up making the discussion of video games their fulltime job, like many video game reviewers, let’s players (people who record themselves while playing video games) and video game theorists on the video streaming website YouTube have done. Many video game companies also sponsor these YouTube stars (often on the premise that they give their video game a positive review), which shows that the industry itself acknowledges the importance of the internet community. Though the localization industry might not always be swayed by everything a fan community wants, one of the first times the gaming audience did visibly affect a video game company’s attitude towards localization was when developer Square Enix changed their localization process from outsourcing to in-house in 1998 after the backlash from fans who played the poorly translated Final Fantasy VII (O’Hagan and Mangiron 2013, 180). Since then, the internet has not only provided the video game community with more and more easily accessible ways to communicate with the industry, but it has also allowed them to educate themselves on the process of localization. In some cases, the video game developers even contact their audience directly in the form of surveys. These surveys are usually sent by e-mail and pose questions to the audience on the subject of preferences and opinions on previously released games and what they would like to see in future releases. Pelletier-Gagnon (2011, 73) mentions that sometimes video games that are heavily transfigured during localization are met with resistance because the audience feels betrayed by the product they received. I hypothesize that this is related to how much more acutely aware the audience is of which video games they play were not originally produced in their language, and what might have been lost or added during localization than they used to before the internet was this widely used. Given the fact that the video game industry clearly does pay attention to their audience at various levels, it would then be logical that they adapt their localization strategies to this more aware audience, perhaps deciding against transcreating video games as much as they used to. This might also become apparent in the results of the case study of the current thesis. Additionally, the internet has also made it much easier for audiences from all corners of the world to educate themselves and each other on different cultures. When you want to know what a magatama is or how udon noodles are made, a quick Google search will provide more and better answers than could be accessed by individuals before personal computers and smartphones were a
17 part of daily life. Therefore, the industry might not consider it necessary to use transcreation as often as it did before. The translator of the very first Phoenix Wright: Ace Attorney game, Alexander Smith (as cited in Mandiberg 2015, 245–46) has stated that – for the reason stated above – he might not have decided to change miso-soup to ‘hamburgers’ at all if he had translated the game in this day and age.
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3 METHODOLOGY
3.1 DATA SCOPE AND ACQUISITION METHOD
Since the case study in this thesis will involve two individual games, it is important that a similar amount and type of data will be retrieved from both games. This will ensure that the data will be as representative for each of the games as possible, and therefore that the results of the case study will be as relevant as possible. To achieve this, I will take approximately 25.000 words, comparative to roughly 38 pages of transcript from each of the two video games. I am aware that this amount of data is only a small part of the text of each of the video games, but due to the fact that applying the FrameNet analysis method is a time consuming and laborious process, analyzing any larger body of text is beyond the scope of this thesis. However, I am confident that this amount of data will be enough to produce reliable results. The analysis method used in this study ensures that, despite the relatively small amount of data, the results of the study will be significant and meaningful due to its scrutiny of cognitive meaning on the sentence and word level. Because the purpose of this research is to attempt to uncover how exactly transcreation affects the localized versions of video games and because the scope is fairly limited, it is imperative that the data used is of relevance. Because of this, I have chosen to exclude certain parts of the in- game text from my case study data. I will exclude menu text because other restrictions (such as spatial constraints) can apply to this type of text and skew the data. I will also exclude any tutorial text that teaches the player the mechanics of the games and the functions of the buttons on the console, since that type of text is likely to always be translated very literally because its sole purpose is to instruct the player. To convert the in-game text from the video games into a file that can be edited during analysis, I will transcribe the text of the original Japanese video games from so called let’s plays (videos of people playing video games, showing the game console screen) on YouTube. I will then use my own Nintendo 3DS console to play the games in English and transcribe the text from them. This method is the most suitable, because in both Ace Attorney: Dual Destinies and Persona Q, the in-game text that the player is shown depends on the choices they make. Therefore, playing the games in the same way and making the same choices as the person does in the let’s play video will maximize the chances that the appearing text will match.
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3.2 DATA ANALYSIS METHOD
As explained in chapter 2.1.1 of this thesis, the main method of analysis used in this case study will be frame semantics. More specifically, the practical method called FrameNet, developed by a team of researchers at the University of Berkeley. After gathering the required amount of data from the two video games and their localizations, I will analyze each utterance (a coherent piece of text uttered by one character) by identifying the major frame or frames in both the Japanese original and the translation and comparing whether those frames match or not. If the frames do not match, I will note whether this is because the frame in question is missing in the original, whether it is missing in the translation, or whether they are simply different from each other. In other words, if one utterance contains three frames in the original version but only two frames in the translation, I will mark one frame as missing in the translation. The other two frames will then be marked as ‘match’ if they match or ‘different’ if they do not match. If the frames do match, I will analyze them further and note whether most FEs also match, some FEs match while others do not, or even (nearly) none of the FEs match at all. If an utterance is not coherent (for example if the character merely says “Uhm.”), and thus cannot belong to any frame nor is able to be analyzed with any other analysis method, I will not take that utterance into account. In the event that I find a significant shift in the translation that FrameNet is unable to pick up on – in other words, there is a difference in meaning, but the analysis result is ‘Frame match’ and ‘FE match’ – I will also take note of this and analyze and discuss it further in chapter 4.2 of this thesis. Should I find utterances with significant meaning that do not belong to any existing FrameNet frame, I will create my own frame and define it for the purposes of this research. To keep the analysis as objective as possible I will only create new frames when absolutely necessary and add a list of the frames I created to the appendix of this thesis. After analyzing all the data in this manner, I will present the results in a quantitative manner and attempt to draw several generalized conclusions from it. Then I will further analyze and discuss a selection of examples, divided into categories based on what kind of change occurred during translation or in what way FrameNet succeeded or failed to identify these changes.
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4 CASE STUDY
4.1 THE GAMES AND GAME SERIES: ACE ATTORNEY AND PERSONA
Both of the video games used for this case study are part of ongoing and long-running series that are popular in both Japan as well as the US and Europe. The Ace Attorney series kicked off with its first instalment Phoenix Wright: Ace Attorney (Japanese: 逆転裁判 [literally: Turnabout Trial]) in 2001, though the game was not localized into English until 2005. The video game used in this case study is
Phoenix Wright: Ace Attorney – Dual Destinies (Japanese: 逆転裁判 5 [literally: Turnabout Trial 5]). It is the fifth main entry in the Ace Attorney series and was released for the Nintendo 3DS in 2013. Persona, which is actually a spinoff series of another game series called Shin Megami Tensei, released its first game Revelations: Persona in 1996 and was localized in that same year. The game from the Persona series used in this case study is Persona Q: Shadow of the Labyrinth which was released on the Nintendo 3DS in 2014. These two particular games were chosen because they have many factors in common such as being released on the same platform, having release dates quite close to one another, and being text-heavy Japanese role-playing games. This is likely to limit the differences found in translation caused by factors irrelevant to this study such as differences in spatial constraints (due to screen size for example) or technological differences. At the same time, these two games seem to differ greatly on the subject this thesis is researching in detail: transcreation as a localization strategy.
4.1.1 The story
The Ace Attorney series revolves around the main character Phoenix Wright (Japanese: 成歩堂 龍一
[Naruhodou Ryuuichi]), who is a defense attorney. In most of the games the attorney faces the most ridiculous and seemingly hopeless cases, usually involving a murder of some kind. In Dual Destinies, a mysterious bomber attempts to take justice into their own hands by blowing up a courtroom. At the trial for that bombing, another bomb is set off, injuring Phoenix’s good friend and colleague Apollo Justice and implicating another friend of theirs as the culprit. Since Apollo is too injured to appear in court, it is up to Phoenix and his psycho-analyst co-worker Athena Cykes to clear their friend’s name and find the real culprit in the process.
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Unlike Ace Attorney, every game in the Persona series usually introduces new characters and even a completely different universe in every game. The common denominator in the series (aside from gameplay elements) is the concept of characters using ‘Personas’. In the games there are certain people who have a Persona, which is a manifestation of their psyche in the form of a mythical being or monster. These Personas can be used in battle to perform certain physical or magical attacks. Persona Q is actually a spin-off of Persona 3 and Persona 4 combined, in which the player chooses to play as the main character from one of those games. The chosen main character ends up in an unknown other dimension with his friends. In this dimension time and space seem to be different and the group of friends is trapped in a strange school where a cultural festival is being held. They cannot leave the school and they cannot communicate with the school’s students. They then meet a mysterious boy and girl named Zen and Rei, who have lost their memories and are also trapped in the school festival dimension. To get out of the other dimension and back to their own world, they have to conquer labyrinths and fight monsters called Shadows, all the while trying to retrieve Zen and Rei’s memories.
4.1.2 The gameplay
In Ace Attorney, most of the time the player watches passively as the characters interact with each other. There are two gameplay modes within the game. One occurs when a trial is in process, while the other occurs when the characters are collecting evidence for the case. During trials, the player reads the conversation and is sometimes prompted to make a decision, answer a question, or present the correct piece of evidence in order to try and prove the defendant’s innocence. If the player chooses wrongly, the judge will call the main characters out on their mistake and will start to lose faith in their arguments. If the player makes too many mistakes during one trial, the judge will declare the defendant guilty and the player will have to restart the trial. During the investigation process, the player chooses where the characters should go and who they should talk to in order to gather enough evidence to be able to win the next trial. In this part of the gameplay the player cannot lose and is simply forced to keep searching until all the required evidence has been collected. The gameplay in Persona is much more like a classic JRPG. While there are still a lot of conversations for the player to read (or listen to, since most of the conversations in this game have full voice acting in both the Japanese and English versions), in between the conversations the player has to navigate what is usually referred to as ‘dungeons’ in the video game community. These dungeons are extensive multi-story labyrinths with enemies attacking in the form of random ambushes the player cannot see coming. When the player is engaged in battle in this fashion, they
22 must select what each of the characters will do (e.g. fight, use magic, use an item, defend themselves). Doing this in a strategic manner – keeping in mind the allies’ and enemies’ weaknesses and strengths – will make it more likely that the player wins. If the player loses a battle, they have to start again from the last time they saved the game.
4.1.3 The localizations
Though both Ace Attorney games and Persona games used to be translated in such a way to remove as many of the Japanese elements in the games as possible, the localization strategies for Phoenix Wright: Ace Attorney – Dual Destinies and Persona Q: Shadow of the Labyrinth are wildly different. This is because starting from Persona 3, translation strategies for the Persona series were adjusted to maintain Japaneseness instead of erasing it, most likely because the growing Persona fanbase consisted largely of cultural enthusiasts who appreciated these foreign aspects. Logically, it would be much harder to implement such a change in the Ace Attorney series since those games are part of one linear story with the same protagonist instead of introducing a new story and protagonist with every new game like Persona. Suddenly changing Phoenix Wright’s nationality from American to Japanese in the localization of a new game would likely be met with resistance from fans of the series. Some of the differences caused by these different strategies are easy to see at first glance. In Persona character names are not changed in the localized version, whereas in Ace Attorney all characters including the main characters get a new name during localization (I will elaborate on these changes in section 4.3.7). Meanwhile, the foreignizing strategy of the Persona translation is so extreme that many of the honorifics – which are an integral part of the Japanese language – are maintained. From this, one can conclude that the Persona localization team expects the audience of this game to have a large amount of previous knowledge of Japanese culture.
4.2 PRESENTATION OF THE DATA
For both of the games in this case study, the data that was collected, covered the first section of the first chapter in the respective stories. In the entirety of the data from Phoenix Wright: Ace Attorney – Dual Destinies 1218 separate frames were identified. In the data from Persona Q: Shadow of the Labyrinth 1038 separate frames were identified. Figure 1 shows how many of the frames from the
23 data from each game matched and in what way in concrete numbers, while Figure 2 shows how the frames from the two games compared in terms of percentages.
Persona
Ace Attorney
0 100 200 300 400 500 600 700 800 900
Frames differ E missing J missing Frame only match Partial match Full match
Figure 1 – frame count in Ace Attorney and Persona
100%
90%
80%
70%
60%
50%
40%
30%
20%
10%
0% Ace Attorney Persona
Full match Partial match Frame only match J missing E missing Frames differ
Figure 2 – frame percentages in Ace Attorney and Persona
From figure 2 in particular, it becomes clear that the rate of frame matches is much higher for Persona than it is for Ace Attorney, with about 82% of frames in the Persona data matching up in
24 some way and only around 67% of frames in the Ace Attorney data doing so (see figures 3 and 4 for the exact percentages). In other words, the core meanings of the sentences in Persona’s translation are often much closer to the meanings of the original sentences than is the case in Ace Attorney’s translation, a result that reflects the games’ reputations.
Ace Attorney
19.79%
1.07%
11.90% 57.31%
0.82%
9.11%
Full match Partial match Frame only match J missing E missing Frames differ
Figure 3 – Frame percentages in Ace Attorney
Persona
12.81%
1.73% 2.79% 0.19% 5.49%
76.97%
Full match Partial match Frame only match J missing E missing Frames differ
Figure 4 – Frame percentages in Person
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Though in both data pools over half of the frames fully matched up, this percentage is much higher still in Persona’s translation than in Ace Attorney’s translation. From this we can conclude that it is likely that transcreation results in meaning being less literally conveyed. This is also reflected by the fact that partial matches were actually more frequent in Ace Attorney than Persona. In such cases the meaning of the concept underlying the sentence will have been the same, but certain FEs were added, missing or different, often causing the translation to invoke a different feeling than the original. What significance these percentages hold when compared to other video game localizations or even compared to other media and text genres is impossible to conclude as long as there is no further research undertaken in a similar manner. In both data pools there were very few cases where the frame matched but none of the other elements within the frame did, just as there were relatively few cases in which the translation was missing some meaning that was present in the original without substituting this meaning with something. From that second fact one could generalize that it is possible that transcreation is not very likely to cause parts of an original text to be omitted without compensation. Conversely, a significant difference that could be a result of transcreation affecting the translation, is that almost four times as many frames were added in Ace Attorney’s translation as there were in Persona’s translation. This means that meaning that was not present in the original text was added to the localized version. Finally, a substantial amount of the data in both of the games (though this percentage is much larger in Ace Attorney) consisted of frames that were different. However, this was also one of the areas of the data where frame semantics does not offer as much information as would be preferable, since it merely indicates whether the frame is different or not, and not how different it is. I will elaborate on this in chapter 4.3.4. Though this quantitative representation of the data is a good way to get an idea of the general ways in which transcreation could affect the translation of a video game, it says less about the specific ways and details in which the frames and FEs match up or differ. To shed light on these differences, nuances and cases where frame semantics was unhelpful to identify changes in translation, I will discuss a number of examples in the next section.
4.3 ANALYSIS OF THE DATA
In this section I will discuss a wide variety of examples found in the data in more detail with the purpose of gaining further insight of how transcreation as a strategy affects a localized product.
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Since the types of changes between the original and the translation that were found, differ so greatly, it is extremely difficult to apply any single theory to all of them. Therefore, I will simply provide the Japanese sentence of each example with a roman alphabet transcription, a gloss and a more literal translation, before discussing the changes made during translation in detail. Due to the limited scope of this thesis, it is not possible for me to detail the definition of all the frames named during the discussion of the examples. However, since the definitions and other details of all the frames are available at “https://framenet2.icsi.berkeley.edu/fnReports/data/frameIndex.xml”, the database can be used as a reference in case of any uncertainty or confusion. Though I will not be looking at many instances that resulted in a full frame match – simply because most of those cases are clear-cut and therefore not very interesting to investigate further – I will firstly provide some examples in which the translation is still rather different despite the frames and FEs matching. Similarly, I will also highlight some cases where the frames differed, even though the meaning of the sentence remained roughly the same. I will then look at how many of the frame mismatches were due to servitude to the English language and how many were by voluntary choice of the translators, and I will take a closer look as to how significant the differences between original and translation were when the frames were marked as different. Finally, I will discuss some cases in which it was difficult to determine whether frames and FEs matched or not. After discussing frame related examples, I will move on to non-frame related examples that require a closer look without frame semantics being involved. These examples will involve the translation of things like puns, jokes and proper names. Additionally, I will examine how each of the games’ translations handles uniquely Japanese language items like honorifics and kanji (ideographs with inherent meaning). Finally, I will highlight the few translation mistakes that I have found in the data. In each of these following sections I will compare the examples from the two video games and attempt to conclude from them whether the differences or similarities found could have anything to do with transcreation being the translation strategy or not. I am aware that many of the examples could belong to more than one of the categories I have divided them into, but I have attempted to sort them into the category that they are the most suitable to.
4.3.1 “False” frame match
When I refer to a frame match as “false”, this means that though the same frame is used in the original and the translation, the cognitive meaning that the translated sentence (or a large part of the sentence) evokes, is actually quite different. These cases made up an insignificant part of the
27 data, and as such I consider them to be exceptions. However, since FrameNet is a little tested analysis method, I would like to highlight its shortcomings in the interest of refining and improving it. As the examples below will illustrate, I have found that a “false” frame match is often caused by the fact that some frames can include a very wide range of meanings. The following example sentence from Ace Attorney is preceded by a conversation in which the defendant and Athena Cykes’ friend Juniper Woods, says that she has given Apollo Justice a lotus root, because she heard that lotus root can help you see into the future.
ココネ：（生だったら、さすがに食べられなかったみたいだけど）
Nama da-ttara sasuga=ni tabe-rare-na-katta mitai da Raw COP-CON as.one.would.expect=LK eat-POT-NEG-PST seems COP kedo but Lit: ‘But if it was raw, it’s logical that it seems [he] was unable to eat it.’ Athena: (And if that’s true, I guess he must not have eaten them…)
The main frame in this sentence is Conditional_scenario, since this is the only frame of which the FEs cover all of the LUs in the sentence. In this frame there is a possibility that has a consequence associated with it. In this sentence the frame Conditional_scenario is represented with the LUs ‘dattara’ and ‘if’ in Japanese and English respectively. The Profiled_possibility is ‘nama’ in Japanese and ‘that’s true’ in English, and the Consequence is ‘sasuga ni taberarenakatta mitai da kedo’ in Japanese and ‘I guess he must not have eaten them’ in English. The parentheses present in the original Japanese and official translation indicate thought instead of speech. The Japanese sentence offers the fact that the lotus root was raw as the reason Apollo did not eat the lotus root, while the translation refers to the fact that Apollo was not able to see into the future and therefore could not have eaten the lotus root. If I was to speculate about the reason for this change, it is likely that while it is general knowledge in Japan that you do not eat lotus root raw (even though it can be eaten raw), in America this might not be as logical. The next example, also from Ace Attorney, involves a witness called Ted Tonate who is an expert in bomb defusing, who explains that defusing bombs is not easy.
バラシマ：マグロの解体ショウとはわけがちがう！おわかりでショウ？
Maguro =no kaitai shou towa wake=ga chiga-u Tuna=GEN dissection show from situation=NOM be.different-NPST
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O-wakari de-shou POL-awareness COP-POL Lit: ‘[It is] something different from a tuna dissecting show! [You] know [that], right? Tonate: It’s not like disassembling a toaster, you know!
In both the original Japanese and the English translation, the main frames in this utterance are Similarity and Awareness (though the second one I will not discuss since it is a normal match). The Similarity frame covers both expressions of similarity and negations of similarity, as is the case in this example. The frame is represented by ‘wake ga chigau’ in Japanese and ‘not like’ in English. The remaining FE is Entity_2 (‘Maguro no kaitai shou’ and ‘disassembling a toaster’ respectively). In this case it is quite obvious why the translator made the decision to change this cultural element in the translation. Public displays of dissecting fish are not something an American or European audience would be familiar with, so it was simply replaced with a toaster. Once again, because this frame covers a wide range of meanings, and the basic structure of the sentence remains the same, FrameNet is unable to pick up on functional equivalents. It is useful to note that in Persona such cases of false frame matches due to the presence of realia did not occur. Culturally specific items such as the dish ‘takoyaki’ were maintained in the translation. In the data from Persona there were even less cases of “false” frame matches, despite the higher rate of frame matches in general. I deduce that this lower percentage of “false” matches is caused by the more direct translation strategy, causing more translated sentences to exactly contain all elements from the original Japanese sentence. There were cases where there was a small change made in a sentence that FrameNet could not detect, but it was difficult to assess whether these cases were truly a “false” match. This is illustrated in the following example.
？？？：入っちゃダメ…その中、怖いのがいるよ…
Hai-ccha dame Enter-SJV do.not Sono naka kowai no=ga i-ru=yo That in scary thing=NOM be-NPST=SFP Lit: ‘Don’t go in… in there, [there] are frightening beings…’ ???: Don’t go inside… There are monsters in there…
The first part of the sentence is a normal frame match, where the identifiable major frame is Path_shape. The second part of the sentence is also a frame match, yet the meaning is not
29 completely the same. The frame is Presence (represented by ‘ga iru’ and ‘there are’) and the present FEs are Location (‘sono naka’ and ‘in there’) and Entity (‘kowai no’ and ‘monsters’). While all of the FEs also match, the Japanese original sounds much more child-like than the translation because the girl – whose identity is unknown at that time, hence being indicated with three question marks – euphemizes the word ‘monster’. It is still clear to a Japanese reader though, that she is most likely speaking of monsters, since the Japanese language has two separate words for the verb ‘to be’, and the one used here is only used to refer to living creatures. As has become apparent from these examples, some current frames in the FrameNet project are very broad, which can lead to “false” frame matches. The data in this study suggests that this type of analysis error is likely to be more frequent with data where an exceptionally free translation strategy was used. Though I have not found many such cases in my data, this number might be able to be taken down further if some select frames have their definition narrowed, or if other frames with a narrower meaning are substituted.
4.3.2 “False” frame mismatch
When using the term “false” frame mismatch I am referring to cases where there are different frames used in the original and translated sentences, yet the meaning conveyed does not diverge very much. There were significantly more cases of “false” frame mismatches in the data than the “false” matches I discussed in the previous segment. As I will show in the examples below, this seems to have two main reasons. The first one being FrameNet having been created mainly for the analysis of informative texts. This has caused the database to be less easily applicable to very informal or colloquial language and being less accurate during the analysis of such language. The second reason seems to be that despite FrameNet’s relative broad applicability, some interference from the differences between a pair of two ancestrally unrelated and typologically very different languages still exists. This becomes exceptionally clear in the next example from Ace Attorney, the first part of which I have had to create my own frame for. The first sentence contains the concept of ‘getting used to’. The closest match in the FrameNet database is currently the Familiarity frame, but I argue that becoming familiar with something and getting used to something are indeed two different cognitive concepts. The first one refers to first not having (much) knowledge of something and then gaining such knowledge, while the second one describes knowing something but not being accustomed to it before getting used to it. Therefore, for the purposes of this research I have created the Getting_used_to frame.
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ココネ：（なんだかんだで、慣れるもんね！この張り詰めた空気にも）
Nandakanda=de nare-ru-mon-ne Anything=to get.used.to-NPST-SFP-SFP Kono haritsume-ta kuuki-ni-mo This strain-PST atmosphere-to-also Lit: ‘Wow, [I] can get used to anything! Even to this tense atmosphere.’ Athena: (It’s amazing what a girl can get used to! Even a tense atmosphere like this is no biggie!)
The main frame in the first Japanese sentence is Getting_used_to (represented by ‘nareru’). The other LUs (except for non-coherent emotive particles like ‘mon ne’) in the sentence can be categorized as FEs of this frame. In this case that is just one FE: Entity (‘nandakanda de’). At first glance one might think this would result in frame match, however though the Getting_used_to frame is also present in the English translation, due to the colloquial wording, the LUs in ‘it’s amazing’ do not belong to the same frame. Thus, in the translation, Getting_used_to does not cover all LUs. Instead the major frame is Stimulus_focus, represented by ‘It’s amazing’ with the FE Stimulus (‘what a girl can get used to’). Additionally, something also occurs in the Japanese sentence that is frequently observed when using FrameNet to analyze Japanese. It is when a certain FE – sometimes, as is the case here, this is even the LU that expresses the frame itself – is absent but is indeed cognitively present. The main frame is once again Getting_used_to, but there is no LU present in the sentence to represent this frame. Instead the reader is clued in on the frame of the sentence by the particle ‘mo’ [literally: also] which refers back to the main frame in the sentence before that (which was also Getting_used_to). Within frame semantics, this phenomenon is called null instantiation (Fillmore and Baker 2015, 805–6). It can at times also be found in English, but in Japanese it is much more frequent. This null instantiation allows FrameNet even further to look at meaning instead of wording, and it is not the cause for the “false” frame mismatch in this example. In the second part the frames do not match either, again because of colloquialism. The cause for the second “false” frame mismatch is the fact that while the Japanese sentence repeats the basic meaning of the first sentence, the English version states that it is ‘no biggie’, which is a colloquial way of saying that something doesn’t pose a problem and thus belongs to the Predicament frame. Despite these frame differences, these two sentences do not evoke a very different cognitive picture, which is mainly because this is a colloquial sentence translated in a colloquial way. Consequently, the meaning evoked by the words has a lot to do with the ‘feeling’ or ‘vibe’ they
31 convey, instead of a simpler type of literal meaning. In other words, what is maintained in the translation is not the literal meaning but the register. The following example from Ace Attorney, is a part of a description from the prosecutor of how and when he thinks the defendant managed to activate the bomb from the bombing incident.
アウチ：そこに、爆弾をねらって被告人がやってきたのです。
Soko=ni bakudan=wo nera-tte hikokunin=ga yatteki-ta=no There=LOC bomb=ACC aim.for-LK defendant=NOM arrive-PST=SFP de-su COP.POL-NPST Lit: ‘There, the defendant had come, aiming for [[in the sense of “being after”]] the bomb.’ Payne: Looking for a chance to get at the bomb, Ms. Woods was already there in that lobby.
When reading the Japanese and English sentences respectively, the same kind of scene of the defendant stealing the bomb comes to mind, however both main frames in this sentence are different. In the Japanese sentence the main frames are Desiring and Arriving, while in the translation the main frames are Seeking and Presence. I experienced some difficulty determining to what frame exactly the word ‘neratte’ belongs, because of its colloquial usage in this case, but concluded that it does not belong to the Seeking frame since the focus of this word is on the intention of the agent and not on an action. The Desiring and Seeking frames differ from one another in the sense that a desire is a wish for some event to occur or for the result of that event, while seeking indicates a physical or metaphorical action. The difference between Arriving and Presence is self-explanatory, and in this case, it is likely that the difference between the Japanese and English languages played a role in this change. The Japanese language often favors expressing the presence of an entity by saying that the entity has arrived – instead of the result, being present. This could end up sounding awkward when translated literally.
エリザベス：腕力には多少自信がありますのに、ビクともいたしません…
Wanryoku=ni=wa tashou jishin=ga ari-ma-su noni Physical.strength=DAT=TOP slight confidence=NOM have-POL-NPST despite biku=to=mo itashimasen move=QUOT=even do.POL-NPST-NEG Lit: ‘Though [I] have some confidence in [my] physical strength, [they] won’t budge…’
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Elizabeth: Confident though I am in my physical strength, even I cannot budge them.
In this next example from Persona, Elizabeth states that she cannot open the doors in front of her and the main character. There are two main frames identifiable in both the Japanese and the English sentences. One of these two sets of frames is a match with a partial FE match (the Certainty frame expressed by ‘jishin ga arimasu’ and ‘have confidence’) while the other set is different in the two languages. In Japanese Elizabeth expresses that the doors do not move, while in English she expresses being unable to move them. This is most likely a result of Japanese being a language that favors intransitive constructions while English tends to involve the actor in the description of the action (Luk 2014, 779). This results in the frame in the Japanese sentence being Motion and the frame in the English sentence being Cause_motion.
4.3.3 Frame mismatch: option or servitude?
Determining that a frame does not match – whether this is because there is one less frame in the translation, one less frame in the original, or the frames are simply different – offers some modicum of information about the way in which transcreation affects a translation. However, these categories alone do not explain whether the changes during translation are the translator’s choice or whether the translator was forced to make changes because of the restrictions of the target language. Using the basic concepts of option and servitude which I explained in chapter 2.1 of this thesis, I will now discuss several examples. However, since I am applying this to frame semantics, I will adopt only the basic concepts of servitude and option and apply them to cognitive meaning instead of grammatical rules. In each separate case I will determine whether it would have been possible to translate a sentence in such a way that the core meanings and with them the frames would have stayed the same. If it would have been possible to translate in such a way that the frame still matched but the meaning would have still changed, or the meaning would possibly have become ambiguous, I will categorize those cases as ‘unclear’. I will then present percentages of how many of the mismatched frames were caused by option, servitude, or when it was unclear. In the first example from Ace Attorney, Athena addresses her colleague Apollo about the injuries he sustained during the explosion that the current court case is about. In this case the translator had the opportunity to translate literally, but instead opted to add an entire sentence. This sentence also refers back to her utterance before that, in which she stated she has ‘nerves of steel’ – something that was not present in the original Japanese version either.
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ココネ：先輩…あの法廷の爆発でそんなヒドイケガを…。
Senpai ano houtei=no bakuhatsu=de sonna hidoi kega=wo Superior that courtroom=GEN explosion=LOC such horrible injury=ACC Lit: ‘Superior… At the explosion in that courtroom [you sustained] such horrible injuries…’ Athena: Speaking of steel, how are you holding up? That explosion really did a number on you…
The Japanese sentence actually only contains one major frame, which is also present in the last sentence from the English version. The Explosion frame (‘bakuhatsu’ and ‘that explosion’) covers the FEs Victim (‘senpai’ and ‘you’), Damage (‘sonna hidoi kega’ and ‘really did a number’) and Place (‘ano houtei’ which is missing in English). One might think ‘hidoi’ in Japanese and ‘really’ in English are LUs that pertain to the FE Degree, however these LUs are a description of the severity of the injury and not the degree of the explosion, which is why they belong to the Damage FE. In conclusion, this part of the utterance is a frame match with a partial FE match. The most interesting part of the utterance is the sentence that is completely missing from Japanese. Neither the Chatting frame (‘speaking of’) nor the Thriving frame (‘holding up’) is present in the original game, and I can only speculate that this was added to make the conversation flow a little more smoothly and to give Athena a peppier attitude in English. I found a lot of cases like these where specifically Athena received extra lines in the translation, each addition changing her character a little in small ways. It is very possible that the localization team decided that Athena’s lines in Japanese were too meek or bland and that they wanted to spice up her character. It is also likely that they took into account the fact that Athena is a rather strong female character by Japanese standards since Japanese audiences usually prefer more soft-spoken female characters. The localizers might have thought that translating her lines literally would result in a weakening of her character, since American audiences would perceive her differently than a Japanese audience would. Given the amount of information that was added without any definitively identifiable reason, this is an example of option overall. However, there is one element of servitude present. The use of the word ‘senpai’ as a form of direct address in Japanese is something that is notoriously hard to translate without sounding like marked language in English (since it is not marked in Japanese). The exact use and meaning of the word as it is used in Japanese cannot be transferred into English in most contexts. Therefore, the fact that this one word is simply left out is actually a case of servitude. The differences found in the Persona data were not as great or as many as in Ace Attorney (something I will discuss in depth in chapter 4.3.4), but there were indeed quite a few changes that
34 were made by choice. As I will show with the next example, these were mainly choices in wording and changes in perspective, instead of additions or omissions.
＞この世界から脱出するための手掛かりが、この中にありそうだ…
Kono sekai kara dasshutsu su-ru tame=no tegakari=ga kono This world from escaping do-NPST purpose=GEN hint=NOM this naka=ni ari-sou da in=LOC be-seem.like COP Lit: ‘It seems like in here, [there] would be a hint to [help us] escape from this world…’ >This place may be hiding a clue on how you can return to your world…
Both the Japanese sentence and the English translation have two identifiable major frames. Both of these frames, however are different. The first frame in the Japanese sentence is Escaping (‘dasshutsu suru’). The frame that has the closest corresponding meaning in the English translation is Arriving (‘return’). In this case, a perspective shift of the same event caused the change in frame: Escaping from the current world means that they will return to their own world. This sentence easily could have been translated in a more direct way, and I cannot determine any clear reason why this change would have been made. The second part of the Japanese sentence is governed by the Presence frame (‘arisou da’), while the English sentence adopts the Hiding_objects frame (‘hiding’). Once again, there was an alternative translation which would have kept the meaning closer and the frames intact. For example, this utterance could have been translated as: ‘In here there might be a clue as to how we can get out of this world.’ However, as I stated before, while they are optional, the changes here are not as extreme as in many examples from the Ace Attorney data. Another remarkable pattern I noticed in investigating the cases of optional changes in meaning during the translation of both of these video games, was the handling of some sentence framing expressions. Both Japanese and English use words with similar meanings to convey when a speaker is unsure of what they are saying or when they are voicing their opinion. In other words, both Japanese and English are languages that frequently express the Opinion and Give_impression frames. Opinion can be expressed by FEs like ‘think’, ‘feel like’, ‘believe’ and ‘be convinced’ in English and in Japanese it is generally expressed by ‘omou’. Give_impression can be expressed by FEs like ‘seem (like)’, ‘look like’, ‘sound like’ and ‘appear as though’ and in Japanese it can be expressed by FEs like ‘mitai’, ‘douyara’ and ‘you da’. In terms of core meaning, these two frames are not interchangeable, however seeing as quite a large part of the optional frame mismatches in the data
35 involved these two frames, they seem to be considered as interchangeable or even dismissible frames by the translators of both games. Almost all cases of servitude in terms of meaning found in both games contained some form of standard expression used in Japanese. Japanese is a language that is rich in such customary expressions that are oftentimes obligatory to use for speakers in certain situations if they do not want to come across as rude. For example, there are standard expressions to use when someone is done with their work (‘otsukaresama desu’), when one has in any way enjoyed another person’s hospitality (‘osewa ni narimashita’), when one leaves the house and plans to be back later (‘ittekimasu’), and so forth. These expressions are very difficult, if not impossible to translate since their literal meaning is mostly irrelevant. ‘Otsukaresama desu’ does not merely mean ‘you must be tired’, and instead is an acknowledgement of the speaker that a group of people has been hard at work, one or more of them is now done with work, is leaving, and is most likely very tired. In their complexity, these standard expressions are also hard to put in any one frame, as a result of which I was forced to improvise a solution. Since they do not belong to any one frame, I have attempted to analyze their different meanings and assign to them a combination of frames. Examples like the next one could therefore also be put in part 4.3.5 of this thesis.
オドロキ：ごめん…。希月さん。森澄さんのこと、よろしく頼む…。
Gomen Kizuki=san Sorry Kizuki=HON Morizumi=san=no koto yoroshi-ku tano-mu Morizumi=HON=GEN matter favorable-ADV-LK request-NPST Lit: ‘I’m sorry… Ms. Kizuki. Please take care of Ms. Morizumi…’ Apollo: I hate it that I can’t be there… but I know you’ll give your utmost to defend Juniper!
Foregoing the first sentence – which also contains a very different frame in Japanese than in English – since it constitutes another case of option instead of servitude, this example contains one of these standard expressions, though it is a somewhat informal form. The full and standard version of this expression is ‘yoroshiku onegaishimasu’ and it literally means ‘favorably, please’. Depending on the situation, it is a way of saying that you are either hoping to work well with or get along with someone, or that you are hoping the addressee and a third party will do so. It is a wish for favorable interpersonal relationships and a show of good will towards another person, and it can be used in business as well as in personal situations. Though I have translated it “literally” in the example, there
36 is no true literal translation in English. ‘Please take care of’ does not suffice to cover the entire meaning of the expression. In this example the translators clearly chose to convey what purpose the Japanese standard expression was fulfilling in this particular case. Though the expression does not state it expressly, it is clear to a Japanese person playing the game that Apollo means to wish Athena success at the trial (and not just take care of Juniper in general). The cognitive meanings (and therefore the frames) might be very different, but Apollo’s intention comes across similarly in both the original as well as the translation. From the entire amount of the data gathered from both games, it seems like a similar number of instances of servitude in meaning can be found in a heavily transcreated game as in a game that is translated more literally. The difference – as would be expected – appears in the amount of changes made to the translation voluntarily. Due to this, calculating the data in percentages paints a different picture, despite the fact that the number of times servitude was encountered was quite similar in both games. In the data from Persona, 73% of the frame mismatches were attributable to option, while 12% was servitude and 15% of the cases were too unclear to determine either of the two. While 73% might seem like a high number, when compared to the data from Ace Attorney, a similar distribution to the frame match or mismatch data appears. In the data from Ace Attorney 92% was attributable to option, while only 4% was servitude and 4% was unclear. In conclusion, it can be said that transcreation is unlikely to influence the amount of cases of servitude found in a translation. The fact that the cases of option in meaning far outweigh the cases of servitude in meaning in both translations could indicate that this is something that simply happens during translation, or it could indicate that this is something that occurs frequently in video game translation or Japanese-English translation. Without further research, it is impossible to determine whether the amount of option in meaning found in this data is actually abnormally high or not. However, judging from the difference found between the two games, it is very likely that using transcreation as a translation strategy causes a higher number of cases of option in meaning to occur to a certain extent.
4.3.4 Frames differ, slightly to greatly
When looking at the examples in previous sections, it has already started to become apparent that marking a frame as ‘different’ does not necessarily mean that the type or extent of changes made during the translation of that particular sentence resembles other examples marked as ‘different’. In
37 both video games I found many sentences that definitely contained different frames in their original versions than in their translations, but in which the changes were minor.
アウチ：その表面から出たのですよ。…被告人の指紋が。
Sono hyoumen kara de-ta=no de-su=yo That surface from appear-PST=SFP COP.POL-NPST=SFP Hikokunin=no shimon=ga Defendant=GEN fingerprint=NOM Lit: ‘[They] appeared on its surface. …The defendant’s fingerprints.’ Payne: And we found something very interesting on its surface… the defendant’s fingerprints.
In this example from Ace Attorney, both the Japanese and English utterances only contain one major frame – despite the Japanese utterance consisting of two separate sentences – but these frames are indeed different. In the Japanese original the major frame is Becoming_visible (‘deta’), while in the English translation the frame is Locating (‘found’). In the case of the English translation another interesting thing also happens: the FE Sought_entity appears twice in a different form. One time the Sought_entity is referred to as ‘something very interesting’ and the second time it is referred to as ‘the defendant’s fingerprints’, but both times the speaker intends to refer to the same object. The most likely reason this is translated in such a way, is that the translator wanted to maintain the suspense that is present in the original utterance by only revealing the critical information at the very end of the sentence. As can be observed in the example below, in Persona there were also many cases in which small changes were made during translation. Aigis, an android who speaks very formally, expresses her surprise at the fact that no one in the mysterious school they arrived at has reacted to the dog they have with them (named Koromaru) in any way.
アイギス：コロマルさんについて、何かを言う生徒は存在しませんでした。
Koromaru=san nitsuite nanika=wo i-u seito=wa sonzai Koromaru=HON about something=ACC say-NPST student=TOP existence shimasen deshita do-POL-NEG COP-POL-PST Lit: ‘No students existed, who said anything about Mr. Koromaru.’ Aigis: I encountered no students who acknowledged Koromaru-san’s presence.
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Both the original sentence and the translation contain two major frames and both of these frames are different. In Japanese Aigis expresses herself using the Existence (‘sonzai shimasen deshita’) and Statement (‘iu’) frames, while in English she uses the Encounter (‘encountered’) and Communication_response (‘acknowledged’) frames. In some contexts, the LU ‘acknowledge’ can also belong to the Statement frame instead of the Communication_response frame. In this case, however, I argue that the meaning of the English statement is closer to ‘responding to’ than it is to ‘saying something about’, and thus that it belongs to the Communication_response frame. As for the Existence and Encounter frames, the difference between the two is clear and the reason behind the change can be surmised. Translating literally would not result in a very natural sounding English sentence. Using the Presence frame (e.g. ‘there were’) – which is slightly closer in meaning to the Existence frame than the Encounter frame – would likely result in a disruption of Aigis’ formal, robot- like speech pattern. From this analysis, one can conclude that the above sentence was most likely still translated as literally as the translator considered possible, despite the use of different frames. This is not the case with the next example from Ace Attorney, which displays drastic changes in meaning. Especially in the data from Ace Attorney I found many such sentences which had been altered severely. The next example consists of two consecutive utterances. The odd use of the katakana (phonetic) alphabet in Japanese and the capitalized letters in English in this example are to illustrate that this character speaks through typing on a keyboard and having a computer read it aloud for him.
バラシマ：ワタシにはアナタが目と鼻の先にいるように見えていマスヨ。
Watashi=ni=wa anata=ga me to hana=no saki=ni i-ru Me=DAT=TOP you=NOM eyes and nose=GEN front=LOC be-NPST youni mi-e-tei-ma-su=yo as.though see-POT-PROG-POL-NPST=SFP Lit: ‘I can see you as though [you] were right in front of [my] eyes and nose.’ Tonate: I CAN EVEN SEE WHAT YOU HAD FOR BREAKFAST BY LOOKING AT YOUR TIE.
ナルホド：（なんだかいい気分じゃあないなあ）
Nandaka ii kibun jaa-nai=naa Rather good feeling COP-NEG=SFP Lit: ‘That’s not a very nice feeling.’ Phoenix: (Why do I suddenly feel like a bug under a magnifying glass?)
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In both of these utterances all major identifiable frames are different in the translation. In this case, it is because the witness (Ted Tonate) illustrates the fact that he can use his goggles to zoom in and out on things in two completely different ways in Japanese and English. In Japanese he mentions the illusion of proximity from his point of view, resulting in the Perception_experience (‘miete imasu’) frame. In English, on the other hand, he describes something the goggles would allow him to observe, resulting in the Perception_active (‘looking at’) frame. The frames themselves are different – though closely related – and the frame elements diverge even more. The translation of the second utterance – which is the reaction from Phoenix – is just as different as the first one. The major frame in Japanese is Stimulus_focus, or alternatively Sensation (both of which would be represented by ‘kibun’), while the major frame in English is Give_impression (‘feel like’). Despite ‘kibun’ also literally meaning ‘feeling’, in this particular English sentence the word refers to a different kind of feeling that does not have to do with emotions, and therefore belongs to a wholly different frame. Even when disregarding the frames, it is clear that these two utterances have been changed in such a way during translation, that one could argue it is hardly translation at all anymore. Perhaps it would be more accurate to say it is an interpretation of the Japanese scene, expressed in an entirely different manner. The English version is much less abstract than the Japanese original, involving a concrete reference to an example of what the witness would be able to see, and then a concrete reference to what Phoenix could compare himself to. It is likely that the translator felt that the scene would be more amusing to an American audience that way. Though I have found some cases in which changes were bigger than others in Persona, in none of the utterances in the data pool from this game the divergence from the original sentence was as drastic as in many of the utterances from Ace Attorney. In the next two examples I will present the most divergent types of translation I have found in the Persona data. In this utterance, a young boy from the group of friends wonders what is to be done for them in the strange school they arrived at, after Elizabeth told them that there is undoubtedly a reason that they are there.
天田乾：この場所に、何があるっていうんでしょう…
Kono basho=ni nani=ga a-ru=tte i-u-n deshou This place=LOC what=NOM be-NPST=QUOT mean-NPST-LK COP.POL-SJV Lit: ‘What does that indicate is in this place?’ Ken: What could we need to be here for?
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When looking at the somewhat awkward literal translation I provided, it quickly becomes clear that this example is very hard to translate directly. It would have been possible to maintain the major frame – Presence (‘aru’) – in the translation by opting for a sentence like ‘What could be in here?’. However, the Japanese sentence indicates that there might be a (currently unknown) reason for what is happening with ‘tte iun’, and this possible reason is also present in the official translation in the word ‘need’. Losing this nuance would be the cost of trying to maintain the cognitive frame. That could be the reason the translators decided to change the focus of the sentence from their location to their purpose, with the result that the major frame in the English sentence is Needing (‘need to’). In the second example from a wholly different scene, Elizabeth looks at her brother Theo, and starts to comment on the frilly, strawberry-patterned apron she just forced him to put on. However, she does not finish her sentence, something that frustrates her bother greatly some moments later.
エリザベス：思っていたより…
Omo-ttei-ta yori Think-PROG-PST more.than Lit: ‘[It’s] more […] than [I] thought.’ Elizabeth: Now that I see it on you…
Because the sentence in this example is cut off halfway, it is difficult to determine what the end of either the original or the translation would have been. This makes it difficult to say for certain what frame would be the major frame, but it is unlikely that the Japanese and English would have ended up with the same major frame if the sentences were completed. As the sentences are, in their incomplete form, the Japanese original contains the major frame Opinion, while the English contains the major frame Perception_experience. It is also clear from the literal translation of the Japanese original I provided, that because of the difference in sentence structure between Japanese and English, it would be nearly impossible to translate this sentence literally. This is because the part that is trailed off at the end in Japanese would need to be in the middle of the sentence in English. From this, one can infer that once again the translator had a strong incentive to change the sentence entirely as to avoid an awkward translation. In conclusion, one of the most significant differences I have found between the data from the two video games in this case study, is the amount of voluntary and drastic changes. As shown in the last two examples, when looking closely at utterances from Persona it is usually easy to see the reason for a slightly bigger change. Meanwhile, many utterances from Ace Attorney are transformed
41 much more drastically for seemingly less pressing reasons. It is very likely that this difference is caused by the fact that Ace Attorney was localized with a heavy preference for transcreation, while Persona was not.
4.3.5 Ambiguous cases
Though in general, using frame semantics as the main method in this thesis has served the purpose of this research relatively well, I found some utterances in the data from each game that resisted categorization by frame. There were some utterances that were simply non-coherent and likely not suitable to be analyzed with any existing translation theory such as screams (‘Whaaaa!’), sighs (‘Haaah.’ or ‘*sigh*’), stutters (‘U-U-Uhm… W-Well…’) and even one keyboard smash (‘LAJ72Z OIQE AKCXW!’). Therefore, I did not take these utterances into account during my analysis. Other cases involved highly colloquial utterances or cases in which the cognitive meaning was ambiguous. In these cases, I simply attempted to choose the frame with the definition that was the closest to matching the sentence. I will now discuss several of the most difficult cases I encountered. The first example is from Ace Attorney, which concerns a highly colloquial expression. In this utterance Athena is pleased with the result she has achieved by using her analytical psychology skillset.
ココネ：へへ！ざっとこんなもんですよ！
Hehe Heehee Zatto konna mon de-su=yo Roughly that thing COP.POL-NPST=SFP Lit: ‘Hee hee! That’s how it’s done!’ Athena: Hee hee. Pretty neat, huh?
In this example the English translation does not cause much of any problem. The first part is just laughter and thus not coherent, and the second part is quite easily identifiable as the Desirability frame, since ‘neat’ in this case is used in the meaning of ‘cool’ or ‘awesome’. The problem lies with the Japanese sentence, which I have loosely translated as ‘that’s how it’s done’, simply because the true literal translation ‘that’s about a thing like that’ would not make any sense in English. It is simply a boastful expression one can use after accomplishing something. Attributing this expression to any frame applicable to its literal components would not adhere to the concept of frame semantics,
42 which is based on cognitive meaning. I argue that, though in truth this sentence defies categorization by frame, the closest applicable frame would be Bragging, since it is a boastful expression. However, I do recognize the problem with this, since the only FE of this frame present is the Message (‘zatto konna mon’), and the frame itself is not truly cognitively represented. The next example is from Persona and concerns a case of ambiguous meaning. Theodore is attempting to describe what the place the group of friends arrived at is exactly, and in doing so explains that they are not in the reality they are used to anymore.
テオドア：ここは、現実とは違う場所…
Koko=wa genjitsu towa chiga-u basho Here=TOP reality from be.different-NPST place Lit: ‘This is a place that’s different from reality…’ Theodore: This is not reality.
The frame in the English translation of this example is Negation since Theodore claims that it is ‘not’ reality. If one assumes that ‘chigau’ is meant here in the sense of being different, then the major frame of the Japanese sentence would be Identicality. However, the word ‘chigau’ in Japanese is not as clear-cut as its literal translation ‘be different’ would suggest. In many contexts the word ‘chigau’ can be used as a negative expression in the place of the word ‘no’. Since I am not a native speaker, it is difficult to say whether a native Japanese speaker would cognitively consider ‘chigau’ to always be Negation or Identicality or whether they would consider it one or the other depending on context. It could also be possible that different speakers would classify the word differently. However, since in this case the Japanese also could have simply said ‘ここは現実じゃありません’ (literally: ‘this is not reality’) I have chosen to classify the major frame in Japanese as Identicality and thus to categorize this case as a frame mismatch. In the data from both video games I have found a number of the type of ambiguous examples discussed above. In most cases I was able to come to a satisfactory conclusion on what frame was the most suitable, however FrameNet might need to be revised and supplemented to make it fully applicable to colloquial language. Since human language always maintains some degree of ambiguity in meaning, the ambiguity issue is not something that can be solved by adjusting the research method.
4.3.6 Puns and jokes
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Humor is an important aspect of the textual assets in many video games due to the main purpose of a video game being to entertain the player. Especially in the Ace Attorney video game series, humor is an integral part of almost any scene. In the data from Persona there were also some utterances that were clearly identifiable as jokes – mainly plays on words. In this section I will take a closer look at several examples of jokes from both video games and attempt to determine to what extent the practice of transcreation affects the translation of puns and jokes. In the first example from Ace Attorney I will be discussing, Phoenix has just finished a conversation with the prosecutor, Gaspen Payne. In this conversation the prosecutor has explained to Phoenix that he might look very similar to his brother who knows Phoenix, but that he is a different person and he and Phoenix have never met before. During his explanation, it becomes quite clear that Gaspen Payne is a very unpleasant man and in the example below, Phoenix considers this in his thoughts.
ナルホド：（なんだかめんどくさそうなヒトだな…）
Nandaka mendokusa-sou=na hito da=na Rather bothersome-seem.like=ADJ person COP=SFP Lit: ‘He seems like a rather bothersome person…’ Phoenix: (*sigh* Looks like this royal Payne is going to be as thoroughly unpleasant as the other.)
In the original Japanese sentence of this example there is no play on words present and instead the main character just expresses his frustration with his opponent. In the English version, ‘royal Payne’ is a play on words combining the colloquialism ‘being a pain [in the ass]’ that is used when someone is considered to be annoying, and the prosecutor’s last name ‘Payne’. Given the fact that the names of all characters in Ace Attorney have been changed during localization, the translator most likely saw an opportunity arise due to the name change and took advantage of that opportunity. From this example, it becomes clear that the translators of Ace Attorney have the freedom to add jokes to the translation even if they are not present in the original text, perhaps in part to compensate for any plays on words in Japanese that might get lost in the translation. The next example, consisting of two utterances, is from a scene where the different characters discuss their experience during the bombing of the courtroom for which the current trial is being held. The presiding judge is the same as the one who was also there during that explosion and he explains the following:
サイバンチョ：かく言う私も、逃げ出すまでに 15 回は転びましたからな。
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Kakuiu watashi=mo nigeda-su madeni 15 kai=wa Similarly I=too escape-NPST until 15 times=TOP Korobi-mashi-ta kara=na fall.over-POL-PST because=SFP Lit: ‘Similarly, I too fell over as much as 15 times before escaping.’ Judge: I must admit, I stumbled at least ten times before I was able to escape.
In this first utterance the judge admits to falling over fifteen times in Japanese, however in the English localization he mentions he stumbled only ten times. There is no apparent need for this change to be made and one could only speculate as to the translator’s reasoning. Perhaps ten was considered to be a more likely number to be said when recalling a situation where the speaker could not possibly have been counting exactly how many times he fell over. Alternatively, perhaps the translator did not want to have to put Arabic numbers in the translation if it was unnecessary, since usually the numbers one to ten are written out in the roman alphabet and anything over that is written in numbers. What is also interesting, is the translation of Athena’s response to this:
ココネ：（あそこにいる裁判長、幽霊じゃないよね…？）
Asoko=ni i-ru saibanchou yuurei ja-nai=yo=ne There=LOC be-NPST judge ghost COP-NEG=SFP=SFP Lit: ‘The judge [sitting] over there isn’t a ghost, right…?’ Athena: (Maybe the court should see to getting you even shorter robes…)
Although humor is a matter of personal preference, and it is not always clear when things are meant as a joke, I am quite certain that both the Japanese original and English versions of this utterance were meant to amuse the player to some extent. However, to a western audience the Japanese utterance might not necessarily sound like a joke or be found amusing. A sentence like ‘I’m starting to believe that this judge is actually a ghost…’ would have preserved the meaning of the original utterance, but perhaps would not cause the desired response from a western reader. Instead of preserving the Japanese version, the translator most likely attempted to make the joke in the localized version funnier and more suited to a western audience. This becomes more likely still when one considers that the translator of the very first Phoenix Wright: Ace Attorney game has admitted to rewriting jokes in multiple ways to achieve maximum entertainment value (Jayemanne 2009, 140).
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The last example from Ace Attorney I will be discussing in this section is a very elaborate one, which shows that the localization team of this game took the entertainment value of entire scenes into consideration as well as that of individual utterances. The first joke in this connected series is made when the prosecutor notes that Apollo – who was to be the defense attorney for the defendant, Juniper – is not present in the courtroom. Apollo always wears a red waistcoat and red suit pants to the trials he attends, to which the prosecutor makes a reference.
アウチ：今日は、あの赤いサルのような弁護士が相手だと聞いていましたが。
Kyou=wa ano akai saru=no youna bengoshi=ga Today=TOP that red monkey =GEN seem.like defense.attorney=NOM aite da=to kii-tei-mashi-ta ga opponent COP=QUOT hear-PROG-POL-PST but Lit: ‘[I] heard that my opponent today would be that defense attorney who is like a red monkey.’ Payne: I was under the impression that Mr. Red Monkey would be my opponent today.
This first joke is translated quite literally and the reference of Apollo being a red monkey is maintained. The scene continues and while the proceedings for the court case are dealt with, the prosecutor expresses his rather negative opinions about Athena. He asserts that she could never win from him because she is not a very experienced attorney. He then continues to make another animal joke, this time also referring to the yellow outfit Athena is wearing.
アウチ：どうやら赤いサルが黄色いヒヨコに変わっただけのようですなあ。
Douyara akai saru=ga kiiro-i hiyoko ni kawa-tta Seem.like red monkey=NOM yellow-ADJ chick into change-PST dake=no you de-su=naa merely=GEN seem.like COP.POL-NPST=SFP Lit: ‘It seems that the red monkey was simply exchanged with a yellow chick.’ Payne: At any rate, what does it matter if it’s a red monkey or a yellow monkey facing me.
In Japanese, the prosecutor compares Athena to a yellow chick, in reference to her yellow outfit and her inexperience as a lawyer. This could have easily been maintained in the translation, since in English ‘a spring chicken’ can also be used to negatively refer to a young woman. Instead the English translation has him also comparing Athena to a monkey, referring to her incompetence instead of inexperience. The reason for this change only becomes clear some time later, after Phoenix Wright
46 has entered the courtroom to give Athena a hand with the trial. The witness, Ted Tonate talks about how easy it is to activate the bomb he just described.
バラシマ：知ってさえいれば、子供もできる。弁護人、アナタにだってできマスヨ。
Shi-tte-sae-i-reba kodomo mo deki-ru Know-LK-CON-PROG-CON child too be.able.to-NPST Bengonin anata=ni datte deki-ma-su=yo Defense.attorney you=DAT even be.able.to-POL-NPST=SFP Lit: ‘As long as [they] know that, even a child can do it. [Mr.] defense attorney, even you can do it.’ Tonate: A MONKEY COULD DO IT. I AM SURE EVEN YOU WOULD BE ABLE TO, MR. WRIGHT.
In the original version, this taunt by the witness towards Phoenix does not have any connection with the jokes in previous scenes I discussed above. But in the English version the translator decided to change ‘child’ to ‘monkey’ so that the reader might remember the monkey jokes from before, and to serve as a set up for the final monkey joke, this time made by Athena herself.
ココネ：ナルホドさん。さりげなく、子どもあつかいされましたね…。
Naruhodo=san Naruhodo=HON Sarigenaku kodomo atsukai sa-re-mashi-ta=ne Casual-ADV child treatment do-PASS-POL-PST=SFP Lit: ‘Mr. Naruhodo. He just casually treated you as a child…’ Athena: Uh, I guess this makes you the Blue Monkey in this barrel of fun, Boss…
Making clever use of the earlier allusions to Apollo’s red suit and Athena’s yellow outfit, the translator opted to mention the color of Phoenix wright’s bright blue suit to make a reference to the classic toy game Barrel of Monkeys. Said game involves trying to hang small, brightly colored, plastic monkeys off of each other without them falling to the ground. The name of the game is also colloquially used to express that an activity is particularly fun, something Athena uses sarcastically in this case. This extremely long setup towards a multi-layered joke that spans multiple scenes is evidence to the amount of creativity involved with the process of transcreation. In the data from Persona I found none such cases where jokes were added during localization where they were not present in the original version, nor did I find any jokes that were drastically rewritten. In Persona’s localization, it seems even the jokes were kept as close to the
47 original as possible, as can be observed in the next example. Rei – the girl who lost her memory and is quite ignorant in many ways – is excited when she spots some strawberries nearby.
玲：善、善、イチゴだよ！“いっぱい・小さい・ゴリゴリしてるでおなじみ”のイチゴだよ！
Zen Zen ichigo da=yo Zen Zen strawberry COP=SFP Ippa-i chiisa-i gorigori shi-te-ru=de onajimi no ichigo many-ADJ small-ADJ hard be-PROG-NPST=LK familiar=GEN strawberry da=yo COP=SFP Lit: ‘Zen, Zen, it’s strawberries! Strawberries that are “a lot, small, hard and familiar”! Rei: Zen, Zen! Strawberries! They’re like berries full of straw!
In the Japanese version of this utterance, Rei takes the three syllables of the word ‘ichigo’ and assigns a meaning to each of them. According to her, ‘i’ stands for ‘ippai’ (‘a lot’), ‘chi’ stands for ‘chiisai’ (‘small’) and ‘go’ stands for ‘gorigori shiteru de onajimi’ (‘hard and familiar’). During translation, the translator most likely saw the opportunity to maintain the pun in the same style by taking both syllables in the English word and assigning a meaning a meaning to each. The unappealing choice of the meanings – which does not make strawberries sound like an appealing foodstuff – is also preserved. The only difference is that in Japanese each syllable corresponds to the first syllable of a new word, while in English the syllables already are words of which the first one has multiple meanings depending on context. In the next, final example, I will discuss a subtle joke that was one of several in the data from Persona that were lost during translation. The character relaying the joke is Elizabeth, which is very important in this case. Elizabeth is a character who speaks to all characters politely, formally and without many colloquialisms in Japanese. Even when addressing her brother – whom she considers to be beneath her – she speaks using extremely polite and formal language. In the English localization she also speaks formally, but the level of politeness she displays in Japanese is simply impossible to convey within the limits of the English language.
エリザベス：平たく申し上げますと、こっちのセリフでございます。
Hirataku moushiagema-su=to kocchi=no serifu degozaima-su Plain-ADV say.POL-NPST=QUOT this.side=GEN line COP.POL-NPST Lit: ‘Put plainly, that was my line.’
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Elizabeth: Bluntly speaking, that was our question.
The Japanese version might not look like a joke at first glance. However, after reading and listening to Elizabeth’s polite and formal Japanese speech for some time and then hearing her say this, the Japanese reader is struck with a sense of discord. The phrase ‘kocchi no serifu’ is regularly used in Japanese popular culture works as a comeback to a question the speaker does not know the answer to either. It is a highly colloquial phrase that is nearly never used in combination with polite or formal speech. The fact that it is so odd for Elizabeth to use this phrase is very likely meant to strike the player as amusing. In the English version this discord – and with it the humor – is completely lost, because Elizabeth does not use the same politeness level as in Japanese and the phrase used is not as standard and colloquial. As shown in the examples above, the translation of jokes is treated very differently in the localization of Ace Attorney than in the localization of Persona. In Ace Attorney jokes are very rarely left out entirely. Instead, most jokes are maintained or transformed in attempts to achieve better or more suitable humor. Some jokes are even added when the translator saw it fit to do so. It is likely that without the freedom the strategy of transcreation offers, these changes would not have been permitted by editors and managers. This is supported by the fact that in Persona, jokes are at times left out in favor of preserving the information offered in the original joke.
4.3.7 Names
One of the most easily identifiable differences between the localizations of Phoenix Wright: Ace Attorney – Dual Destinies and Persona Q: Shadow of the Labyrinth, is the treatment of character names. When playing the English versions of each respective game, it is easy to notice that while the names of characters in Ace Attorney (though usually highly unordinary) sound quite American, while the names in Persona are distinctively Japanese. This is because during the localization of the former all names are transcreated, while the latter preserves the Japanese names as they are pronounced – merely discarding the original Japanese characters. In many JRPGs (like Final Fantasy, The Legend of Zelda and Kingdom Hearts) the character names are preserved without changing them at all, except in cases where the pronunciation of the name would sound similar to an offensive, taboo or copyrighted word in English. As such, the extent of the changes made in the Ace Attorney series is quite unique. The likely reason behind this is that
49 the names in the original versions of these games are meant to convey hints to the player as to what kind of character they are dealing with. In this section I will discuss the names, their meanings and the translations of two of the characters in Ace Attorney. I will also analyze the meanings of two Persona characters’ names because their names also hold significance in the original Japanese version. I will not discuss any names of characters who already appeared in earlier games from these game series – such as Phoenix Wright himself – because those names have not been re-translated during the localization of these games. To fully understand the way Japanese names are constructed, it is important to keep in mind that in addition to a pronunciation, each ideographic kanji character has an intrinsic meaning. The first character name I will discuss is the newly introduced main character from Phoenix
Wright: Ace Attorney – Dual Destinies. In Japanese this character is called 希月心音 [Kizuki Kokone].
Her family name ‘Kizuki’ is written with the characters for ‘hope’ and ‘moon’, and this moon reference is visually represented by her one moon-shaped earring (which becomes an object of interest in a trial later in the game). At the same time the pronunciation of these two kanji together ‘Kizuki’ sounds like the Japanese word for ‘to notice’. Combined with the meaning of her given name ‘Kokone’, which is written with the kanji for ‘heart/mind’ and ‘sound’, this is a reference to her ability to read people’s emotions. In the game itself it is explained multiple times that Kokone can ‘hear the voices of peoples’ hearts’ and so the meaning of her name is literally ‘the one who notices the sounds of hearts’. In the American localization this same character has been renamed to ‘Athena Cykes’. Her first name was likely chosen because all previous protagonists of the Ace Attorney games had already been given first names from mythology, like ‘Phoenix’ and ‘Apollo’. Her last name ‘Cykes’ is most likely a play on the word ‘psychology’, referring to the fact that she uses her analytical psychology degree to ‘read people’s hearts’. The second character from this same game I will be discussing is Athena’s close friend and also the accused in the first trial of the game. In Japanese she is called 森澄しのぶ [Morizumi
Shinobu]. Her family name ‘Morizumi’ consists of the kanji characters for ‘forest’ and ‘clear/tranquil’. Shinobu is a simple and gentle country girl who loves the forest, which is likely the reason that she has such a family name. Additionally, the second part ‘zumi’ sounds similar to ‘sumi’ which means ‘to live/to dwell’, so her last name could also be interpreted as ‘forest dweller’. Her first name is actually not written in kanji but in one of the Japanese phonetic alphabets, which means that the letters do not have an intrinsic meaning. ‘Shinobu’ is a common Japanese first name which can be written with
50 a variety of kanji, but the most commonly used is 忍, meaning ‘endurance’ or ‘self-restraint’. This would also be logical given the fact that she has to endure high mental strain during the trial itself. However, since there is no kanji actually used, this cannot be said for certain. In the localization of the game Shinobu is called ‘Juniper Woods’. This name is rather simple in its construction since ‘Juniper’ is a type of coniferous plant and ‘Woods’ is a common last name in English speaking countries that refers to where she lives. Thus, it seems that during translation, the translators opted to prioritize her country background over her personality. As has become apparent from these examples, it is often impossible for the translators to maintain all layers of meaning present in the original names of the characters. This is because of the absence of ideographs in the English language, something that allows the Japanese language to infuse a second layer of meaning to each name. Despite this loss, characters’ names in the localized version of Ace Attorney still convey enough meaning to the player to give an idea of what the character in question is all about. The two characters’ names from Persona I will be discussing are the two characters which have been created especially for this game, since Persona Q: Shadow of the Labyrinth is a spinoff game that contains mostly characters from Persona 3 and Persona 4. Fortunately, they are also the two characters with the most meaningful names. These are the mysterious boy and girl the group of friends run into at the school in the other dimension, who have lost their memories and are trying to get them back: Zen and Rei. While playing the Japanese version of the game, the names of the characters appear to be of little importance at first. It is only much later in the video game that the true identities of the two characters are revealed to the player, and with them the meaning of their names. It turns out that Zen is the personification of one half of the soul of a being named ‘Chronos’ – a being that was in essence an avatar of Death. This Chronos (named as such in both the Japanese and English versions) encountered the tortured soul of a deceased human named ‘Niko’ (literally ‘second child’). Niko experiences a mental breakdown to such an extent that Chronos is overwhelmed by this and, without thinking, locks away her memory so that she can no longer remember who she was. She then asks Chronos her name, and Chronos decides that she deserves a better name than one that means ‘second child’. He calls her ‘φιλη’ [Philé], which is Greek for ‘beloved’ or ‘lover’ and shortens this name to ‘Lé’, written as ‘Rei’. In Japanese there is no distinction between the ‘l’ and ‘r’ sounds and ‘é’ would be written as ‘ei’, and so ‘Lé’ automatically becomes
‘Rei’. There are many kanji that are pronounced as ‘rei’ such as 零 ‘zero/nothing’, 霊 ‘spirit/ghost’,
礼 ‘gratitude/gift’. Any of these three could have been chosen as a fitting kanji for Rei’s name:
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Chronos essentially reduced Rei to ‘nothing’, she is a ‘spirit’, and she received the ‘gift’ of not having her memories. However, whether this was kept in mind by the creators of the game when they named her, is merely speculation. The kanji with which her name was actually written is 玲 ‘the sound of jewels’. When Rei then asks for Chronos what his name is, Chronos tells her he is named ‘ζων’ [Zhn], which is Greek for ‘alive’ or ‘living’. Rei – being Japanese – then wonders what kanji that name would be written with and she decides that 善 [zen] ‘goodness’ or ‘virtue’ would be a good fit for him, since he seems to her like a good person. Chronos then splits himself into two beings and locks away his own memories – forgetting he is actually Chronos – so he can help Rei in her search for the meaning of life as Zen. How Zen and Rei’s names came to be is an integral part of Persona’s story, and therefore it is explained in both the Japanese version as well as the localization. Because the names were kept in place, the explanations in the English language version are somewhat more explicit and mention what the meaning of the kanji they are written with is. This means that, though the English-speaking audience cannot understand kanji, the meaning of the Japanese names is still conveyed. This practice of mentioning Japanese ideographs and their meanings is something I will elaborate on in the next section.
4.3.8 Japanese language specific expressions and words
Some aspects of the Japanese language are notoriously hard to translate into any western language, simply because no equivalent aspect is present in those languages. As stated in the previous section, one of those aspects is the use of ideographs in Japanese that give each separate part of a word an intrinsic meaning. Japanese speakers like to play around with the meanings of these kanji to create plays on words and double meanings. In the data from the original versions of both games I have found at least one such example where a character makes a statement about the meaning of a single separate kanji.
バラシマ：解除されているとはいえ“火”の“暴”力と書いて“爆”弾。
Kaijo sa-re-tei-ru towaie “hi”=no “bou”ryoku=to Disarming do-PASS-PROG-NPST despite fire=GEN violence=quot kai-te “baku”dan
52 write-LK bomb Lit: ‘Even if it is disarmed, it is a “bo”mb written as the “violen”ce of “fire”. Tonate: EVEN THOUGH THE BOMB WAS DISARMED, YOU CAN NEVER BE TOO CAREFUL.
In the above example from Ace Attorney, the witness states how dangerous bombs are and – in
Japanese – illustrates this by dissecting the first kanji of the Japanese word for ‘bomb’: 爆. This single kanji consists of two separate main parts. The first part 火 ‘fire’ purely serves to give the kanji meaning and the second part 暴 ‘outburst’ or ‘rage’ gives meaning and determines how the kanji is pronounced. These parts that form this kanji can also be used as complete kanji, by themselves or in other words, which the witness does to make his point. He uses the first kanji by itself, in its original meaning ‘fire’, and he combines the second one with 力 ‘power’ to make the word 暴力 ‘violence’.
By doing this, he states that the first kanji in the word ‘bomb’ essentially bears the meaning ‘violence of fire’ and offers this as a reason not to take the dangers a bomb presents lightly. In the English translation of this utterance, all mention of the original Japanese words has been left out and, in the process, forced the translator to adopt a very free translation. In essence, the witness is still giving the same warning about the bomb being dangerous, but the way of expressing this warning has been completely transformed. The fact that the localization of the very first Ace Attorney video game established that the English language version of the series was set in America, made it illogical for any reference to the Japanese language to be preserved. Additionally, this means that the localization of Ace Attorney can be enjoyed by a player who has no knowledge of Japanese culture. This is different in the Persona series, which maintains that the story is set in Japan.
アイギス：さすが、“順応力”と“平常心”の順平さんであります。
Sasuga “junnouryoku” to “heijoushin”=no Junpei-san As.one.would.expect adaptability and self-possesion=GEN Junpei=HON Dearima-su COP.POL-NPST Lit: ‘As expected of the “adaptable” and “self-possessed” Mr. Junpei. Aigis: Impressive. No wonder your name shares the kanji with the words “adaptability” and “self- assurance.”
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In the above example, Aigis the android makes an observation about Junpei’s personality and connects this to the kanji his name is written with. 順平 ‘Junpei’ is not a name that is particularly uncommon in Japan (unlike many of the names used in Ace Attorney). The first character 順 by itself means ‘order’ or ‘docility’ and it is the first character in the word 順応力 ‘adaptability’. The second character 平 means ‘even’, ‘flat’ or ‘peace’ when used separately, and it is the first character in the word 平常心 ‘one's self-possession’. Despite Aigis’ observation, this does not mean that these two particular words have anything to do with the origin of Junpei’s name, since there are many words that use these two particular kanji, something which Junpei himself points out right after Aigis’ statement. In the English translation of this utterance, the reference to the kanji of Junpei’s name is preserved, even though the kanji themselves have been left out. The translator added a clarification to the translation so that the English-speaking player knows that Aigis is speaking about the Japanese characters that were originally present in the sentence. Of course, this translation assumes that the player knows what a ‘kanji’ is and that such a linguistic sign can be used in different words to form different meanings. In other words, this aspect of the localization of Persona assumes the player has a relatively high amount of cultural foreknowledge. Another common problem during the translation of Japanese to western languages is the frequent use of honorifics. Politeness is expressed in many forms in the Japanese language, and one of them is how people address one another. The word ‘you’ is rarely used by Japanese speakers who instead prefer to refer to one another by name. To express how familiar the speaker is to the addressee and how much respect they intend to convey, an honorific is added after the name. The most commonly used honorifics are ‘san’, ‘kun’ and ‘chan’. ‘San’ is commonly used when two people do not know each other very well, or when they want to maintain a level of social distance from one another. It conveys distance and respect, but it does not put the addressee above the speaker in terms of social hierarchy. ‘Kun’ an honorific generally used to refer to men. It is much more familiar than ‘san’, it can be used to convey friendship and it puts the addressee either on the same level or slightly below the speaker. ‘Chan’ is as informal and perhaps even more informal than ‘kun’ and it is generally only used to refer to women. It is also possible to address someone without an honorific, however this usually conveys either a very close bond between two people, or disdain for the addressee. I will now discuss a number of examples from Ace Attorney to provide a comprehensive overview of how honorifics are handled in the localization of this game. In the first example below there are two honorifics present in the original Japanese sentence. Juniper Woods (Shinobu) refers
54 to her friend Athena (Kokone) with ‘chan’ and she addresses Apollo (Odoroki) with ‘san’. In the English version ‘Athena’ has turned into ‘Thena’, a nickname to convey the closeness between the two friends. In substitution of ‘san’, the witness mentions Apollo’s full name.
シノブ：あたし、友達のココネちゃんを通じて、オドロキさんと知り合ってケホッ。
Atashi tomodachi no Kokone=chan=wo tooji-te Odoroki=san to I friend=GEN Kokone=HON=ACC through-LK Odoroki=HON with shiria-tte keho become.aquainted-LK cough Lit: ‘I became acquainted with Mr. Odoroki through my friend Kokone.’ Woods: Yes. I came to know Apollo Justice through my friend Thena… *cough*
In the next example you can see that Athena does not use any honorifics to refer to her friend, Juniper, further showing how close the two friends are. This is conveyed in the translation by yet another nickname. This time, the use of ‘san’ in Japanese is converted to ‘Mr.’ and a last name in English.
ココネ：ナルホドさん！しのぶの様子がおかしいんです。
Naruhodo=san Naruhodo=HON Shinobu no yousu ga okashi-i-n de-su Shinobu=GEN state=NOM strange-ADJ-LK COP.POL-NPST Lit: ‘Mr. Naruhodo! There is something wrong with Shinobu. Athena: Junie’s really struggling, Mr. Wright.
Interestingly – as is visible in the example below – Athena’s utterances of ‘Naruhodo-san’ in Japanese, are not translated in the same way every time. Instead, she sometimes refers to him as ‘Boss’ in the localization of the game.
ココネ：…感じてます。ナルホドさんの《感情》。
Kanji-te-ma-su Feel-PROG-POL-NPST Naruhodo=san=no kanjou
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Naruhodo=HON=GEN emotion Lit: ‘…[I] feel [them]. Your “emotions”. Athena: …I can read your feelings you know, Boss.
The final two examples from Ace Attorney involve the honorific ‘kun’. The first example contains a more typical translation of this honorific, while the second example is somewhat of a unique occurrence. In the first example Phoenix is seen to call his colleague ‘Odoroki-kun’ in Japanese, which is his last name with a familiar honorific. This is changed into simply ‘Apollo’ (his first name) in the localization, most likely because it is very difficult to convey familiarity with a last name in English. In the second example, the judge calls Phoenix ‘Naruhodou-kun’ – his full last name, even though most characters call him ‘Naruhodo’ because that pronunciation coincides with the Japanese word for ‘of course’. Despite the use of ‘kun’ in Japanese, this has been changed into ‘Mr. Phoenix Wright’ in the English version. This is likely because in English, a judge would be unlikely to ever call an attorney by just his first name, the way ‘kun’ is translated in the rest of the game.
ナルホド：オドロキくんから、連絡受けたんだ…
Odoroki=kun kara renraku uke-ta-n da Odoroki=HON from communication receive-PST-LK COP Lit: ‘[I] received a message from Odoroki…’ Phoenix: Apollo explained the whole thing to me over the phone.
サイバンチョ：成歩堂くん。あなたには、いつもおどろかされますな。
Naruhodou=kun Naruhodou=HON Anata ni=wa itsumo odoroka-sare-ma-su=na You by=TOP always surprise-PASS-POL-NPST=SFP Lit: ‘Naruhodou. You always take me by surprise.’ Judge: If it isn’t Mr. Phoenix Wright. You always manage to surprise me.
Unlike in Ace Attorney, in the localized version of Persona not all honorifics are given English equivalents. Contrarily, most Japanese honorifics are actually left in place in the localization. The following two examples will illustrate that ‘san’, ‘kun’ and ‘chan’ are all honorifics that are used in both the Japanese and English versions of Persona.
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アイギス：Player さん…わたし、何か…感じます。あの方…玲さんに…
Player=san watashi nanika kanji-ma-su Player=HON I something feel-POL-NPST Ano hou Rei=san ni That direction Rei=HON within Lit: ‘Mr. Player… I feel… something. [From] that direction… Within Ms. Rei…’ Aigis: Player-san… I… sense something from here… From Rei-san…
山岸風花：善くんと玲ちゃんの記憶を奪った“誰か”は、ここにいるんでしょうか…
Zen=kun to Rei=chan=no kioku=wo ubatta dareka=wa koko=ni Zen=HON and Rei=HON=GEN memory=ACC steal-PST someone=TOP here=LOC i-ru-n deshou ka be-NPST-LK COP.POL-SJV Q Lit: ‘I wonder if the “someone” who stole Zen and Rei’s memories is here.’ Fuuka: Could the “someone” who stole Zen-kun and Rei-chan’s memories be here?
As can be observed in one of the examples in section 4.3.4 of this thesis, Aigis is a character who addresses nearly every other character with ‘san’, even a dog. While all the other characters usually address Rei as ‘Rei-chan’ – like Fuuka does in the second example – Aigis remains formal at all times. This same formality is preserved in the English version, assuming that the player is familiar with the social connotations of the use of these honorifics. In addition to the preservation of the honorifics, the use of last names to address others is also largely maintained in the data from Persona, even in cases where it would strike an American audience (with no knowledge on Japanese culture) as odd if two friends were to address each other this way. I have found only two exceptions in which the Japanese honorifics were not maintained during the localization of this game, one of which has a connection to this use of last names.
山岸風花：テオさんに渡してみれば、装備や消耗品にしてくれるかも！
Theo=san=ni watashi-te mi-reba soubi ya shoumouhin ni Theo=HON=DAT hand.over-LK try-CON equipment or consumables into shi-te-kure-ru kamo do-LK-B-NPST perhaps Lit: ‘If [you] try giving them to Mr. Theo, [he] might change them into equipment or consumables!’
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Fuuka: If you give those to Theo, he might be able to make them into equipment and items!
In the above example, Fuuka refers to Theo as ‘Theo-san’ in the original Japanese version, however this ‘san’ is entirely left out in the translation, without being substituted with ‘Mr.’ or some similar expression of politeness. Given the fact that the rest of the translation assumes the player to know the meaning of the honorific ‘san’, it seems strange that it is suddenly left out in this case. However, most other cases in which a character is addressed with ‘san’, it is either added to a character’s last name, or it is an utterance of the android Aigis. This is relevant because it might be possible that the localizers of this game assumed their audience to have some knowledge of the meaning of Japanese honorifics, but not that they were aware that ‘san’ can sometimes be used with first names. The android Aigis’ speech is often robotic, highly formal and slightly awkward, which alerts the player to the fact that her usage of language might be wrong at times. This could prevent a player from becoming confused when such a character addresses a dog politely with ‘san’. However, it might strike a player as odd if Fuuka – a character with normal speech patterns – called another character by their first name (a sign of familiarity) and would then add ‘san’ (a sign of distance). Theo’s last name is not revealed in the video game, and as such could not have been used in the translation. It is therefore likely that in this exceptional case, ‘san’ was left out as to avoid confusing the English- speaking players. In the next, final example, the honorific ‘sama’ is used. This honorific is very rarely used in ordinary conversation, though occasionally used in popular culture works. It is an expression of extreme respect and it places the speaker far below the addressee in terms of social status. Once again, the honorific is left out of the translation and is not substituted with anything except a generally more tentative and polite sentence structure than the original Japanese sentence contained. It is likely that, since ‘sama’ is a much less common honorific than the other three honorifics I discussed in this section, the localization team considered it too obscure to use. In fact, it is so uncommon, that in the data from Ace Attorney there were no instances at all of this particular honorific being used.
エリザベス：Player 様は私と。ベルベットルームの様子を確認いたしましょう。
Player=sama=wa watashi to Velvet Room=no yousu=wo Player=HON=TOP Me with Velvet Room=GEN state=ACC kakunin itashima-shou confirmation do.POL-HORT Lit: ‘[Come] with me, honored Player. Let [us] confirm the state of the Velvet Room.’
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Elizabeth: Would you come with me, Player? We should inspect the Velvet Room.
4.3.9 Translation mistakes
Despite the fact that both the localizations of Ace Attorney and Persona are relatively high-budget productions, they are still the work of humans and therefore subject to error. Naturally, most changes during the translation of these two video games were made out of careful deliberation and not in error, even if the changes seem inexplicable at times. However, in the data from each of the two games I have identified one utterance in which a change is made that transforms the meaning in such a way it is unlikely that this was a conscious decision on the translator’s part, because it might cause the player to become confused. I will first discuss the example from Ace Attorney, in which the judge asks the witness a question. In the Japanese version he inquires whether the witness had any social connection to the victim who died in the explosion of the bomb. This is a logical question, given the fact that the victim was a member of the police force much like the witness. However, in the English translation the question is about whether the witness knows the defendant, instead. There is no plausible reason for the judge to ask that question, which is made even more obvious when the witness continues to state that he does not know all members of the police force, while the defendant is not a member of the police force. As a result of this, I can only conclude that this was a mistake on the part of the translator that was then overlooked by the editors and quality checkers of the localization.
サイバンチョ：爆弾処理係ということは…被害者とは仕事仲間だったのですか。
Bakudan shori gakari=to i-u koto=wa higaisha Bomb handling clerk=QUOT say-NPST matter=TOP victim towa shigoto nakama da-tta=no de-su ka with work friend be-PST=LK COP.POL-NPST Q Lit: ‘Does the fact that you are a bomb disposal agent mean… that you were friends from work with the victim?’ Judge: Being a bomb squad specialist, do you have any relation to the defendant?
The utterance from Persona I will be discussing concerns an explanation of the weapon Zen uses to fight with. The Japanese utterance consists of three sentences while its English translation only contains two sentences. In terms of meaning, some omission occurred, most likely because of spatial constraints, given the fact that the original Japanese utterance seemed to have been near the
59 character limit for one utterance. However, in addition to the omission, there is one other strange difference. The Japanese sentence states that the weapon was made from items that Zen found lying around, while the English translation states that the weapon fires objects lying around. The translation of this first sentence seems to make little sense in context, considering the fact that the group moves around a lot and they would not be guaranteed to always find ammunition nearby. Additionally, in actuality the player has to go to Theo to request different ammunition for the weapon be made, so the weapon does not in fact ‘use nearby objects’. This discrepancy suggests that this translation is either the result of an awkward an unsuccessful attempt to compress all the information offered in the Japanese utterance into two English sentences, or it is simply a mistake.
善：このあたりの物で作った射出装置だ。固形状の物を玉として飛ばせる。玉によって威力
も変わる。
Kono atari=no mono de tsuku-tta shashutsu souchi da This vicinity=GEN things with make-PST shooting device COP Kokeijou=no mono wo tama toshite toba-se-ru Small.form=GEN things=ACC bullet functioning.as fly-CAUS-NPST Tama niyotte iryoku mo kawaru Bullet depend.on power also change-NPST Lit: ‘It is a shooting device [I] made from objects nearby. [It] can shoot small things as ammunition. [Its] power changes depending on the ammunition.’ Zen: It’s a projectile device that uses nearby objects. Its effect changes depending on what it fires.
The two examples above illustrate that though the overall quality of video game localizations has improved since the time of Final Fantasy VII, it is still very difficult to prevent small mistakes from slipping through the quality control process. However, given the fact that I found one mistake in the data from both games, it is unlikely that transcreation as a translation strategy has any influence on the amount of true translation mistakes.
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5 CONCLUSION
In this thesis I have attempted to answer the question “How does transcreation as a translation strategy in video game localization affect the translated linguistic assets?”. However, before doing so I have first offered the reader an overview of the most relevant translation theories in relation to video games and Japanese-English translation. From this overview it became obvious that there is still much work to be done to create translation theories that are more universally applicable to new media and less commonly researched language pairs. I have also provided an outline of the most important concepts concerning video games and the video game industry, highlighting the impact the advancement of the internet might have had on localization practices. I have not been able to prove this impact within the results of this research, however that is in part due to the fact that I have compared two video games from the same era. It is simply impossible to determine whether the differences found between the more transcreated game and the less transcreated game were exceptional or not, without any other research to compare the results to. To be able to prove or disprove the hypothesis that the popularity of the internet has influenced the practice of video game localization with any certainty, similar research will have to be conducted on multiple video games from different time periods. To find the answer to the research question, I have performed a case study on two video games: Phoenix Wright: Ace Attorney – Dual Destinies and Persona Q: Shadow of the Labyrinth. I compiled the data from the first section of the first chapter in both of the games’ stories and then proceeded to analyze this data using the FrameNet database based on the theory of frame semantics. I then used the results of this analysis to answer the two sub-questions I posed to be able to answer the main research question in more detail. To answer the sub-question “How does transcreation as a translation strategy in video game localization affect general text meaning?” I have presented the results of my analysis in a quantitative manner. Given the fact that no such research on video games has ever been undertaken before, it is difficult to draw any generalized conclusions, however it became apparent from the data that there were indeed differences to be found between the translations of these two particular video games. The results suggested that transcreation has an impact on the amount and extent of changes in meaning that are caused during translation. Transcreation is likely to cause the game to be changed more drastically, and to cause additions to be made including meanings that were not present in the original text. One thing that – according to the results of this research – is unlikely to be caused by transcreation is the omission of meaning that was included in the original version.
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The second part of the case study consisted of a closer analysis of a selection of examples, some of which with the purpose to examine the workings of FrameNet analysis on a closer level, and others with the purpose to examine phenomena that FrameNet is unable to identify and to answer the sub-question “How does transcreation as a translation strategy in video game localization affect specific linguistic TT elements such as cultural references and humor?”. I started by explaining that in rare cases FrameNet seems to be unable to pinpoint a meaning difference due to the fact that some frames have very broad definitions. Though it might be useful to revise some frames to prevent this, these cases were not frequent enough to skew the data of the research in any significant way. Conversely, I also identified cases in which FrameNet could not recognize the cognitive similarity of certain sentences. Most of these instances were caused by colloquialisms – the analysis of which FrameNet does not seem to be ideal for – or differences between the language pair. I acknowledge the fact that many FrameNet frames would have to be quite heavily modified for this method to become fully applicable to colloquial language, however I do not think this is entirely impossible. As it is now, FrameNet is moderately effective during analysis of colloquial conversations, and I am convinced that the results of this research are meaningful despite this shortcoming. I also examined to what extent the changes in meaning during translation of these two games were the result of a conscious choice on the part of the translator. The results of this showed a similar difference between the data from the two games as the results of the quantitative frame match rate did. The changes in both games were largely optional, however, the percentage was much higher still in Ace Attorney than in Persona. This is another difference between the two games that is likely attributable to one of the video games being heavily transcreated, while the other is less so. While inspecting the utterances with different frames – in which meaning was neither omitted nor added, but simply transformed during translation – I noticed a considerable discrepancy between individual examples. After closer examination in section 4.3.4 I concluded that due to the practice of transcreation many utterances from Ace Attorney were much more drastically transformed during translation than any change found in the localization of Persona. This conclusion is testament to the importance using qualitative analysis to shed light on a quantitative analysis, and the fact that the use of FrameNet as a research method should ideally be supplemented with closer, less generalized evaluation. In my study of the jokes and puns that are present in the data from each of the two games, I was able to draw several tentative conclusions. One of these was that translators who use transcreation as their main translation strategy will be more likely to drastically change jokes in an
62 attempt to make them more amusing or more suited to the intended audience of the localization. Furthermore, jokes might be added for the same reason. However, it is important to note that this result might not be entirely representative of all games that are transcreated. Ace Attorney is a video game series that depends heavily on humor for its entertainment value. Therefore, a more generalized conclusion could be that transcreation causes the elements in the original that are considered to be especially important, to be more severely transformed. Finally, using a very strict and literal translation strategy as in Persona may cause the opposite effect in which case jokes will be left out to preserve the literal meaning of the original text. One aspect of Ace Attorney that is clearly affected by transcreation is character names. As shown in section 4.3.7 of this, all character names are localized in Ace Attorney, while none are in Persona. I concluded that the main reason for this is likely the fact that the story of the first is supposed to be set in America in the localization, while the second is supposed to be set in Japan in both the original and localized versions. The consequences of this are that – though some nuances may be lost – the meanings of the names in Ace Attorney in Japanese are properly conveyed to the English-speaking audience. Incidentally, due to the meanings of some of the character names in Persona being central to the plot development, these meanings are made explicit in both the original and localized versions as well. However, this will likely not always be the case in all games with all names. It is likely that this is an exception and it is more common that the meaning of unchanged Japanese names in English localizations will be entirely lost on a western audience. Contrarily, changing the names during localization could present problems during the international promotion campaigns of such video games. Similar to the fact that all Japanese names were removed from Ace Attorney’s localization, it also became clear that all other phenomena unique to the Japanese language were also transformed or deleted. While in Persona’s localization there are mentions of Japanese ideographs called kanji, and honorifics used to address characters were largely maintained, all such elements were absent from Ace Attorney’s English language version. Once again, the main reason for this is most likely the decision to set the localized version of Ace Attorney in America, a decision that was undoubtedly based on the principle of transcreation. Based on this research, it becomes clear that this one decision back in 2001 has had far-reaching consequences for all consecutive entries in the Ace Attorney series. In summary, the results of this research seem to indicate that transcreation as a translation strategy affects almost all textual elements of a video game to a certain extent in various ways except the omission of information. However, using these results to draw a generalized conclusion about all video game localizations that have been subject to transcreation might be unwise. There is
63 only a very limited amount of previous in detail research on video games, much less research using this exact analysis method. Until such research has been conducted and compared to the results of this thesis, it is not possible to ascertain whether the result presented here are ultimately representative. The use of FrameNet in my research method has proven to be relatively fruitful. In my lengthy discussion of the examples I have focused specifically on what FrameNet failed to explain or highlight, so that these shortcomings might be supplemented in the future. This might give the reader the impression that this research method is not suitable for this kind of research. However, by far the largest part of the data was analysed without any problem. In those cases, FrameNet accurately and correctly highlighted the changes that occurred during translation and therefore did not require any further explanation. This fact is also what makes the quantitative element of this research valuable. It is extremely hard – and might even be impossible – to find or create a method that will be fully applicable to this type of text and this language pair yet provides the desired level of detail at the same time. FrameNet causes less problems because of the differences between Japanese and English than many other theories and methods. Because of this, I argue that this is the most suitable research method currently available for in-depth research on translated text within video games originally produced in Japanese. Despite a lack of comparable research, I argue that this research is an important first step for more in depth research on video games and has successfully demonstrated how overall translation strategy can affect certain text elements. The localized versions of Phoenix Wright: Ace Attorney – Dual Destinies and Persona Q: Shadow of the Labyrinth display a wide array of differences. However, considering the success of both of these video game series, this difference does not seem to affect their quality in the eyes of the consumer. Perhaps the localization teams of both video game series are astutely aware of what their audience expects to see when they play these games and cater to these expectations accordingly. There are many subjects concerning video games in general, video game localization specifically and FrameNet as a research method that still hold potential for future research. This includes some of the uncertainties within the results of this research, such as how much the practice of transcreation and its resulting localizations have changed over time and how frequently frames are changed during the translation of other text types like literary works and news articles. The academic world is only just starting to set foot in the previously unexplored areas of the video game industry and continuing to do so could only benefit the video gaming audience and the industry as a whole.
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APPENDIX
GLOSSING ABBREVIATIONS
ACC Accusative ADJ Adjective ADV Adverbial B Benefactive CAUS Causative CON Conditional DAT Dative GEN Genitive HON Honorific HORT Hortative LK Linker LOC Locative NPST Non-past NEG Negative PASS Passive POL Polite register PROG Progressive Q Question marker QUOT Quotative SFP Sentence final particle SJV Subjunctive mood TOP Topic marker
FRAME CREATED FOR THIS RESEARCH
Frame: Getting_used_to
Definition: A Protagonist gradually becomes accustomed to a certain phenomenon, situation or object (the Theme) over a period of time, or is in the state of being used to the Theme.
I’m ACCUSTOMED to being the last person in the building.
He will GET USED TO his new surroundings in a little while.
FEs: Core:
Protagonist The Protagonist is the person or other being that is getting used to something.
“Shelly isn’t used to walking home on her own.”
Theme The Theme is the object or situation that the Protagonist is getting used to.
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“I got used to this new smartphone quite easily.”
Non-Core:
Degree The Degree is the extent to which the Protagonist is used to the Theme.
I’m not completely accustomed to the new setup yet.
Manner The Manner in which the Protagonist gets used to the Theme.
I got used to it on my own.
Place The Place in which the Protagonist got used to the Theme.
I got used to it in school.
Time The Time at which the getting used to occurs.
Make sure you are used to it by tomorrow.
Lexical Units: get used to.v, acclimatize.v, get accustomed.v, be accustomed.v, acclimatize.v
RESEARCH DATA FROM PHOENIX WRIGHT: ACE ATTORNEY
今法曹界には暗黒の時代が訪れている。 These are dark times where the law has been reduced to rubble 僕たちはそれを正していかなければならない。 and it’s up to us to restore it to its former glory. ああ、分かってるよ。ついにお前が追っていた奴は動いたのかもしれないな。大丈夫さ。頼 もしい新人も入ったしね。 Yeah, I know what you mean. It looks like your target finally decided to make a move. Don’t you worry. I’ve got a trusty new partner on board. よし！ Done! 行きますか？ Ready to go? そろそろ行きますか？ You bet! Let’s do this! 彼女はうちの事務所に来てからもう半年か？今こそ彼女の力が必要だから… She’s been with us for half a year, though I can hardly believe it. Anyway, her power will be our greatest weapon. ああ! ひゃあああ！ Ow! Whoa! Aaah! うお！大丈夫ですか？ Are you alright, miss?
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ああぁはははは… Uuuuuh… ああ。僕はこの時のために戻ってきたんだ。決着をつけるよ。 Yeah, it’s for this very reason I returned. Time to bring it to an end. 第一話 ―逆転のカウントダウン― Chapter 1 --Turnabout Countdown— ？？？：クックックック。 Heh heh heh ？？？：爆弾は、何もかも破壊する。何もかも消してくれる…。 ???: The best thing about bombs is how they erase and destroy… without discretion. ？？？：これで、すべてをあの小娘のせいにしてやれば…！ ???: Now all I have to do is pin everything on that little girl! Nar: 12 月１７日 午前 ９時２２分 地方裁判所 被告人第５控え室 Nar: December 17, 9:22 AM District Court – Defendant Lobby No. 5 ココネ：（…うーん。ぜんっぜん、キンチョウしないなあ！） Athena: (Hmm… Nope! Not feeling nervous at all!) ココネ：（なんだかんだで、慣れるもんね！この張り詰めた空気にも） Athena: (It’s amazing what a girl can get used to! Even a tense atmosphere like this is no biggie!) ？？？：大丈夫かい？希月（きづき）さん。 ???: You doing okay, Athena? ココネ：あ！オドロキ先輩。 Athena: Oh, Apollo! ココネ：ぜ、ぜんっぜん、ヘーキです！鼻歌でも歌いたい気分ですよ！ Athena: Y-Yeah, doing great! Like, hum-a-little-tune great! オドロキ：そっか…すごいね。でも… Apollo: Oh, yeah? Well, that’s good to hear. Although… オドロキ：さっきから、声が震えてるよ。 Apollo: I could’ve sworn I heard your voice crack for a second there. ココネ：（やば…！キンチョウが声に出ちゃってたのね） Athena: (Oof! I’m THAT transparent, huh?) ココネ：そ、そんなことないです！ヨユーですよ！ヨユー！ Athena: Cracking? N-no, my voice isn’t cracking! Nerves of steel, here, I tell you! ココネ：（この人は、王泥喜 法介《おどろきほうすけ》さん） Athena: (This is Apollo Justice.) ココネ：（わたしの勤める法律事務所の先輩弁護士） Athena: (He’s a fellow lawyer at the office I work for.) ココネ：（この事件の担当弁護士はオドロキ先輩だけど…） Athena: (Apollo is the lead for the defense on this case.) ココネ：わたしも一緒に弁護席に立って、サポートすることに決めたんだ） Athena: (But I’m going to be there at the bench with him, doing what I can to help out.) ココネ：（…しのぶのことを守るために！）
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Athena: (I’ll do whatever it takes to defend Junie!) ココネ：先輩…あの法廷の爆発でそんなヒドイケガを…。 Athena: Speaking of steel, how are you holding up? That explosion really did a number on you… オドロキ：一緒に弁護席にいた希月さんが無事なだけでもよかったよ。 Apollo: I’m just happy that you’re okay, Athena. オドロキ：そう…今回の事件はオレにも無関係じゃない…。 Apollo: Although… I can’t pretend I have no connection to this case. オドロキ：だから自分の手で彼女の無実を証明するって決めたんだ。 Apollo: That’s why I’m gonna see to it that Juniper’s name is cleared! オドロキ：希月さんだってそうだろ？ Apollo: And I’m sure you feel much the same way. ココネ：はい！しのぶが疑われている以上、ヒトゴトじゃありませんから！ Athena: You got that right! I won’t rest until Junie is completely cleared of all suspicion! ？？？：おどろきくん、ココちゃん…。 ???: Apollo, Thena… ？？？：今日は…よろしくお願いします。 ???: Thank you… for doing this for me. ココネ：しのぶ…！ Athena: Junie! シノブ：…ケホッ！ケホッ！ケホッ！ Woods: …*cough* *cough, cough* ココネ：だ、大丈夫？ Athena: Hey, are you okay? シノブ：……ごめんなさい。あたし、緊張するとすぐに発作が…。 Woods: …Sorry about that. I always seem to go into coughing fits whenever I get nervous. シノブ：森の中だったら、ケホッ。こんなことないんだケホッ。 Woods: This kind of thing never happens *cough* at home in the forest, though. *cough* ココネ：（彼女は 森澄 しのぶ《もりずみしのぶ》） Athena: (This is Juniper Woods.) ココネ：（わたしの大切な幼なじみ。そして、今回の事件の依頼人でもある） Athena: (She’s my dear, dear childhood friend, and she’s also our client for this case.) ココネ：（テレビのニュースは、しのぶが爆弾犯だと言っているけど…） Athena: (The news keeps repeating that Junie is the “alleged bomber”…) ココネ：（そんなの…ゼッタイありえない！） Athena: (But that’s ridiculous! There’s no way Junie would do anything like that!) シノブ：これ…差し入れ持ってきたの。うちの畑で取れた子なんだ。 Woods: I brought you a little snack, Thena… Just a little something from my garden. ココネ：あ、ありがとう！えーっと、これはイヨカンかな？ Athena: Hey, thanks! So, um… Is this an orange or a tangerine? シノブ：うん。…おばあちゃんが言ってたの。 Woods: It’s an orange! My grandma says… シノブ：イヨカン食べると、”いい予感“ なんだって。 Woods: …that orange is the color of strength and endurance.
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ココネ：そっか！“ゲンかつぎ” だね！（感じるよ。しのぶの優しさ…） Athena: Oh, I get it! Strength for the trial, right? (Junie… You’re always so good to me.) ココネ：やば。わたし、なんでイヨカンをにぎりしめて涙ぐんでるんだろ） Athena: (Geez, look at me! Standing here clutching an orange to my chest with tears in my eyes…) ココネ：よーっし！いい予感がしてきた！ Athena: Well, don’t you worry! ココネ：Let’s Do This! オドロキ先輩、がんばりましょう！ Athena: We’ll be so powerful in there, they won’t know what hit ‘em! Right, Apollo?! オドロキ：ああ。…そうだね。 Apollo: Yeah… that’s right. オドロキ：ゼッタイに勝とう…！この…さい…ばん… Apollo: Come what may… this one trial… we just can’t lose…! シノブ：きゃああああああああああ！ Woods: Apollooooooooo! ココネ：お、オドロキ先輩！ Athena: Apollo! オドロキ：くっ…。 Apollo: Uhngh… ココネ：（包帯から血がにじんでる！傷口が開いたんだわ） Athena: (Blood is seeping through his bandages! One of his wounds must’ve reopened.) ココネ：（今まで、ずっとガマンして、平気なふりをしてたんだ…） Athena: (All this time, he was trying to put on a brave face, but he was really overdoing it.) Nar: 王泥喜弁護士！ Nar: Mr. Justice! ココネ：（な？何？） Athena: (Huh?) カカリカン：まもなく開廷のお時間です。入廷をお願いします。 Bailiff: The trial is about to start, sir. Please proceed to the courtroom. ココネ：（そ、そんな！） Athena: (What?! Now?! But Apollo’s in no state to defend!) オドロキ：はあはあ…くそッ！ Apollo: *huff, huff*… Aaaaargh! オドロキ：オレが…森澄さんを…守らないと。 Apollo: I… I have to… defend Juniper! ココネ：（どうすればいいの…？もう法廷が始まってしまう） Athena: (What are we gonna do?! The trial is about to start, with or without us!) ココネ：（こんなとき、《あの人》がいてくれれば…） Athena: (There’s only one other option I can think of at a time like this…) ココネ：（でも、今から連絡しても、開廷には間に合わない…！） Athena: (But even if I called him now, he’d never get here in time!) ココネ：（……こうなったらもう方法は１つしかないわッ！） Athena: …….No, wait! There’s something else I can do!) ココネ：オドロキ先輩。事件の証拠品を貸してください。
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Athena: Apollo, give me all the evidence for the case. オドロキ：き、希月さん…？どういうことだい？ Apollo: Huh…? What are you gonna do? ココネ：係官さん。 Athena: Bailiff. カカリカン：は、はい？ Bailiff: Y-Yes, Miss? ココネ：弁護側は…弁護人の交代を申請します。 Athena: The defense would like to submit a substitution of attorney petition. シノブ：ココ…ちゃん…！ Woods: Thena! オドロキ：ま、まさか…。 Apollo: You’re not seriously— ココネ：先輩は、寝ていてください。わたしが、しのぶを弁護しますッ！ Athena: You just concentrate on getting better. I’ll defend Junie! オドロキ：1 人で弁護を？そんな…ムリだ！ Apollo: All by yourself?! Athena, stop for a sec and think about what you’re saying! オドロキ：今まで 1 人で法廷に立ったことなんかないだろ？ Apollo: You’ve never once taken a case on alone before, right?! ココネ：ノ、ノープロブレムですよ！（多分…） Athena: ¡No hay problema! I can handle it! (I think.) ココネ：しのぶ。それでもいいかな？ Athena: But I guess it’s really up to you, Junie. Would you be okay with me taking over? シノブ：……うん。 Woods: Um…….. Sure. シノブ：あたし、ココちゃんのこと信じてるよ。だから…大丈夫。 Woods: I believe in you, Thena, and that’s enough for me. オドロキ：……… Apollo: …….. ココネ：オドロキ先輩。わたしのこと、心配してくれてるんですよね。 Athena: You’re worried for me, aren’t you? ココネ：ショージキ、わたしも不安です。ココロが張り裂けそうなくらい。 Athena: To be honest, I’m pretty nervous, too. I think my heart might just burst out of my chest! ココネ：でも、今のオドロキ先輩に、弁護席に立ってもらうわけにはいきません。 Athena: But you’re in no shape to stand at the bench now. ココネ：わたしがやるしかないんです！ Athena: So you’ll just have to leave it to me! オドロキ：………… Apollo: …….. オドロキ：………わかった。決意は固いみたいだね。 Apollo: …All right. I can see your mind’s made up anyway. オドロキ：ごめん…。希月さん。森澄さんのこと、よろしく頼む…。 Apollo: I hate it that I can’t be there… but I know you’ll give your utmost to defend Juniper!
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ココネ：はいッ！まっかせてくださいッ！ Athena: You bet I will! Rest assured of that! ココネ：（わたしは、希月 心音 《きづきここね》） Athena: (My name is Athena Cykes.) ココネ：（まだまだ新米だけど、いちおう弁護士をしてる） Athena: (I’m still just a newbie, but I’m a lawyer.) ココネ：（弁護を担当するのは、今回が２度目…） Athena: (This is… only the second time I’ve taken the lead in a defense case.) ココネ：（1 人で法廷に立つのははじめての経験…） Athena: (It’ll be the first time I stand up there alone, though.) ココネ：（でも…やるしかないッ！） Athena: (But I have to do this!) ココネ：（しのぶのことを、守ってあげなくちゃ！） Athena: (And I’m definitely not about to let anything bad happen to Junie!) Nar: 同日 午前 9 時 46 分 地方裁判所 第 5 法廷 Nar: December 17, 9:46 AM District Court – Courtroom No. 5 Nar: 裁判１日目 開廷 Nar: Day 1 Court is now in session All Rise サイバンチョ：それでは、これより開廷します。 Judge: Court is now in session for the trial of Juniper Woods. ココネ：べ、弁護側、準備完了しています。 Athena: Th-The defense is ready, Your Honor. アウチ：検察側も、準備完了しております。 Payne: The prosecution is also ready, Your Honor. アウチ：んっんー。裁判長。これはどういうことですかな？ Payne: Un-huh… And what is the meaning of this? アウチ：今日は、あの赤いサルのような弁護士が相手だと聞いていましたが。 Payne: I was under the impression that Mr. Red Monkey would be my opponent today. サイバンチョ：ふむ。ついさきほど弁護人の変更が申請されたようですな。 Judge: Yes, well, a substitution of attorney petition was submitted just a few moments ago. サイバンチョ：昨日の法廷爆破事件のケガで出廷できなくなったようです。 Judge: Due to the explosion in the courthouse yesterday, Mr. Justice is unable to continue. アウチ：んっんっんー。まあ、ムリもありませんねえ。 Payne: I see, I see. Not at all surprised he used that as an excuse to run away. アウチ：この私が相手では、仮病を使いたくなるキモチもわかります。 Payne: With me as an adversary, who wouldn’t want to feign illness in order to escape? ココネ：（なっ！なによ！その言い方！バシッと言い返さなきゃ！） Athena: (What?! The nerve of that guy! I’m going to give him a piece of my mind!)
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ココネ：（で、でも… 緊張して、うまく声が…） Athena: (W-well, I would if I wasn’t so nervous…) ココネ：（くうう…！ この、ヒネクレ検事！） Athena: (Argh! This arrogant jerk!) モニタ：コノ！ヒネクレ検事ィー！ Widget: You arrogant jerk! ココネ：あ！こら、モニ太！ Athena: N-No! Widget! アウチ：これは…聞きマチガイですかな？ Payne: Is my hearing getting worse? アウチ：私のごときゼントルメンにツイスト検事、などと... Payne: I could’ve sworn I heard the defense say something just now. ココネ：き、ききき聞きマチガイです！わたしじゃありません！ Athena: N-N-No! You didn’t hear anything at all! Especially not from me! サイバンチョ：むう。しかし弁護士席にはあなた以外には… Judge: Hmm… How odd. I could have sworn I also heard something… ココネ：今のは…えっと、この子なんです。首からさがってる、“モニ太”。 Athena: …Oh, that would be my indispensable partner, Widget. ココネ：ときどき、わたしの考えたことを勝手にしゃべっちゃうんです。 Athena: He… sometimes blurts out what I’m thinking. アウチ：んっんっんー。それはそれは。 Payne: Heh heh. Well then. アウチ：だとすると、弁護人の発言は…ムジュンしていることになりますな。 Payne: If that’s the case, then it’s a clear contradiction to what you just stated! ココネ：（む、ムジュン…ですって？） Athena: (A contradiction?) アウチ：あなたは、先ほどの発言について“わたしじゃない”とイイワケした。 Payne: You just stated that you said nothing. アウチ：しかし、その機械があなたの考えを代弁しているなら… Payne: However, if that device of yours says what you’re thinking… アウチ：現にココロの中で“ツイスト検事”とののしったことになる！ Payne: …then you indeed said I was… what was it? Elegance at work? ココネ：ひ、ひゃいいいいいッ！（“ヒネクレ検事”なのに…） Athena: Eeep! (Actually, it was arrogant jerk…) アウチ：どうやら赤いサルが黄色いヒヨコに変わっただけのようですなあ。 Payne: At any rate, what does it matter if it’s a red monkey or a yellow monkey facing me. アウチ：こんなド・ルーキーに、被告人の弁護ができるとは思えませんがねえ。 Payne: No fresh-out-of-law-school ROOKIE can defend this witness. サイバンチョ：…亜内検事。前置きはそのくらいに。 Judge: Mr. Payne, I believe that’s enough. サイバンチョ：そろそろ、本題に入っていただけますかな。 Judge: Let us get back to the case アウチ：存じておりましとも。
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Payne: Of course, Your Honor. アウチ：“新人いびり”異名を取るこの私。まだまだ、いびりのチャンスはある。 Payne: I’m more than ready to show this little girl why they call me the “Rookie Humiliator.” ココネ：（やっぱり、ヒネクレ検事だ！） Athena: (I knew it. He really is an arrogant jerk.) モニタ：ヒネクレ検事ィー！ Widget: Arrogant jerk! サイバンチョ：弁護人。これ以上続ける気なら、退廷してもらうことになりますぞ。 Judge: Ms. Cykes. If you continue to insult the prosecution I will remove you from this court. ココネ：う、うぐぐ…スミマセン。（わざとじゃないのに…） Athena: Ack. I’m very sorry… (It was just a knee-jerk reaction…) サイバンチョ：では…亜内検事。冒頭弁論をお願いします。 Judge: Now then… Mr. Payne. Your opening statement, if you please. アウチ：…おまかせを。 Payne: Thank you, Your Honor. アウチ：さて。 Payne: Now then. アウチ：事件は、昨日、この裁判所の《第 4 法廷》で起こりました。 Payne: The incident occurred yesterday here at this very courthouse, in Courtroom No. 4. アウチ：そのとき、第 4 法廷では、ある《爆弾事件》の裁判が行われていた。 Payne: At that time, the trial for a certain bombing was being held in Courtroom No. 4. サイバンチョ：うむ。私も、その裁判に裁判長として参加していました。 Judge: Ah, yes. I was presiding over that trial as well. サイバンチョ：王泥喜弁護士も弁護人んとして法廷に立っていましたな。 Judge: And Mr. Justice was there as the lawyer for the defense. アウチ：その法廷に証拠品として提出された《爆弾》が…爆発したのです。 Payne: A bomb that was being presented as evidence suddenly went off during the trial. アウチ：《第 4 法廷》は、崩壊した…。これは、きわめて悪質な事件です。 Payne: It was a terrible incident… and Courtroom No. 4 was completely destroyed. アウチ：爆発前に避難できたから良かったようなものの…。 Payne: Fortunately, we were able to start evacuation procedures before the explosion occurred. アウチ：もう少しで、多くの犠牲者が出てしまうところでした。 Payne: Just a few seconds more and it would’ve turned into a horrific loss of human life. サイバンチョ：実際には、死者は 1 人だけだったのでしたな。 Judge: But there was, in fact, one death, was there not? アウチ：はい。爆発がおきさまったあと、《第 4 法廷》を調査すると… Payne: That is correct, Your Honor. When Courtroom No. 4 was examined after the blast… アウチ：賀来 ほずみ（かくほずみ）刑事の死体が見つかりました。 Payne: …the body of Detective Candice Arme was discovered. アウチ：彼女は、爆弾事件の証人として出廷する予定でした…。 Payne: She was to take the stand as a witness later in the trial. サイバンチョ：逃げ遅れてしまったのでしょう。恐ろしいことです…。 Judge: I suppose she wasn’t able to evacuate in time. What a terrible tragedy.
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サイバンチョ：かく言う私も、逃げ出すまでに 15 回は転びましたからな。 Judge: I must admit, I stumbled at least ten times before I was able to escape. ココネ：（あそこにいる裁判長、幽霊じゃないよね…？） Athena: Maybe the court should see to getting you even shorter robes…) アウチ：被害者は、法廷の入口近くに倒れていました。 Payne: The victim’s body was found near the entrance to the courtroom. アウチ：おそらく避難誘導のために最後まで残っていたのでしょう…。 Payne: I suspect she stayed until the very end to help guide the others out safely. アウチ：裁判長。《被害者の解剖記録》と《爆弾》のデータ…。 Payne: Your Honor, allow me to submit as evidence the victim’s autopsy report… アウチ：2 つの証拠品を、提出いたします。 Payne: …and details about the bomb. 法廷記録：賀来ほずみの解剖記録―後頭部を平たいもので打って死亡。死亡時刻は、午前 8 時から１１時。 Court record: Arme’s Autopsy Report – Cause of death: Trauma to back of head caused by impact with a flat object. Time of death: Between 8 and 11 AM. Nar: 証拠品の《賀来ほずみの解剖記録》のデータを法廷記録にファイルした。 Nar: Arme’s Autopsy Report added to the Court Record. 法廷記録：ぬいぐるみ爆弾―法廷を破壊した時限爆弾。ぬいぐるみに入ったまま爆発した。 Court record: Stuffed Animal Bomb – The time bomb that destroyed the courtroom. It was hidden inside a stuffed animal when it was detonated. Nar: 証拠品《ぬいぐるみ爆弾》のデータを法廷記録にファイルした。 Nar: Stuffed Animal Bomb added to the Court Record. ココネ：（証拠品はすべて、《法廷記録》にファイルされるんだったよね） Athena: (Okay, I know how this works. All evidence for the trial is filed in the Court Record.) ココネ：（《法廷記録》を見るには、たしか《R》） Athena: (When I want to check something out, I just touch the Court Record Button (R).) 法廷記録：弁護士バッジ―もらったばかりのピカピカのバッジ。弁護士になった証ね。 Court Record: My brand-new, shiny badge. It shows that I’m a defense attorney. 法廷記録：王泥喜 法介《おどろきほうすけ》（２３）－法律事務所の先輩。まがったこと が許せない熱い人。 Court Record: Apollo Justice (Age:23) – Another lawyer at the office. He’s passionate about the law, and hates anything that’s not fair or just. 法廷記録：森澄 しのぶ《もりずみしのぶ》（１８）－この事件の依頼人で、わたしの幼な じみ。自然を愛する優しい子。 Court Record: Juniper Woods (Age: 18) – Our client in this case. We’ve been friends since childhood. A sweet girl who loves nature. 法廷記録：亜内 文武《あうちふみたけ》（５５）－この事件の担当検事。なんだかとても イヤな感じのおじさん。 Court Record: Gaspen Payne (Age: 55) – The prosecuting attorney. He just seems to exude unpleasantness… 法廷記録：賀来 ほずみ《かくほずみ》（２７）－この事件の被害者。刑事。《爆破事件》 捜査を担当していた。
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Court Record: Candice Arme (Age: 27) – The victim in this case. A detective who was heading up the investigation into a bombing incident. ココネ：（あとで、カクニンしておかなくちゃ） Athena: (I’d better take a peek later.) サイバンチョ：…それでは、被告人を入廷させてください。 Judge: Now, then. Please call the accused to the witness stand. シノブ：………………ケホッ。 Woods: ……..*cough*. サイバンチョ：被告人。大丈夫ですか？顔色がすぐれないようですが。 Judge: Defendant, are you feeling all right? You’re looking a bit pale… シノブ：すみません…。法廷に来たらなんだか調子が…ケホッ。 Woods: I’m so sorry! I was feeling a bit weak when I first arrived here at the courthouse… *cough* シノブ：でも…だ、大丈夫です。 Woods: But I… I’m all right. ココネ：（しのぶ、がんばってる。わたしも、気合を入れ直さなくちゃ！） Athena: (Junie’s really giving it her all! I’d better make sure I do the same!) アウチ：ククク。進めさせていただきますよ。被告人。名前と職業を。 Payne: Heh heh. If we could please proceed. Your name and occupation, defendant. シノブ：森澄 しのぶ…です。こ、高校生です。 Woods: …Juniper Woods… I’m… a h-high school student. アウチ：あなたは、事件の当日裁判所にいましたよねえ？ Payne: Ms. Woods, can you confirm you were in the courthouse on the day in question? シノブ：あたし、友達のココネちゃんを通じて、おどろきさんと知り合ってケホッ。 Woods: Yes. I came to know Apollo Justice through my friend Thena… *cough* シノブ：それで…ええと…あの日は、おどろきさんの応援に。 Woods: And so… I was there yesterday… to watch his trial and lend my support. ココネ：（しのぶの様子がおかしい。すごくおびえている…！） Athena: (Something’s wrong. Junie’s really scared.) アウチ：んっんっんー。“被告人いびり”の異名を取るこの私。 Payne: Heh heh heh. Did you know I’m also known as the “Defendant Humiliator”? アウチ：どうやら、いばりのチャンスが回ってきたようです。 Payne: It looks like I have yet another chance to show everyone how I earned that moniker! ココネ：（ヒネクレ検事め…わたしが、しのぶを守らないと！） Athena: (Grr… Does his arrogance know no bounds?! I have to protect Junie no matter what!) ココネ：ひ、ひひヒネクレ検事！じゃなかった…亜内検事！ Athena: Hey you arrogant je—Er, Prosecutor Payne! アウチ：むむ…何でしょうか？ Payne: Hmm? What is it? アウチ：どうやら、“新人いびり”のほうのチャンスも回ってきたそうですな。 Payne: Do you want me to demonstrate why I’m known as the “Rookie Humiliator” instead? ココネ：（落ち着いて。大丈夫…落ち着いて話すのよ！） Athena: (Deep breaths, Athena. Don’t let him get to you.) ココネ：ああ亜内検事！かか彼女の言っていることは、本当です！ Athena: P-Prosecutor Payne! Junie is telling the truth!
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ココネ：ひひ控え室にも顔を出してくれたと、王泥喜弁護士が証言していました。 Athena: Mr. Justice also backed up her claim when we saw him in the Defendant Lobby. ココネ：しししのぶ。先輩、喜んでたよ。…差し入れの、レンコン。 Athena: And, Junie, he said that he was glad to get the lotus root you gave him, too. シノブ：ほんと？うちのおばあちゃんが言ってたの。 Woods: He was? My grandma says lotus root is good for your eyes. シノブ：レンコンを食べると、先が見通せるようになるんだって。 Woods: She says they can even help you see into the future! ココネ：そ、そっか。弁護士には、ぴったりの“ゲン担ぎ”だね。 Athena: They can? Then that’s the perfect present for a lawyer! ココネ：（生だったら、さすがに食べられなかったみたいだけど） Athena: (And if that’s true, I guess he must not have eaten them…) サイバンチョ：ふむう。被告人のようなかよわい女性は、法廷を爆破するとは… Judge: Hmm… A sweet, meek girl like this, blowing a courtroom to bits? サイバンチョ：にわかには、信じられませんなあ。 Judge: I must say it’s very hard to believe. アウチ：異議あり！ Payne: Objection! アウチ：んっんっんー。裁判長。見た目にだまされてはいけませんぞ。 Payne: Now, now, Your Honor. Don’t let her seemingly innocent appearance fool you. アウチ：被告人には、犯行を行う《動機》があったのですから。 Payne: The defendant had a motive for committing this crime. シノブ：あ、あたし…動機なんかありません…！ Woods: Th-That’s not true…! I don’t have any kind of motive…! シノブ：ひ、被害者の方とも、まったく面識が … Woods: A-And I-I didn’t even know the lady who was killed…! アウチ：たしかに！調査の結果、被告人と被害者に、接点はありませんでした。 Payne: I admit the investigation didn’t turn up any connection between the victim and the defendant. アウチ：しかし…そんなことは、どうでもよいことなのです。 Payne: However, that doesn’t matter. アウチ：犯人の目的は、《第４法廷》の破壊そのものだったのですから。 Payne: The only thing that does is that her objective was the destruction of Courtroom No. 4 itself. ココネ：ど、どうして、しのぶが、法廷を爆破しなくちゃいけないのよ！ Athena: Hey, what’s that supposed to mean?! Why in the world would Ms. Woods want to do that?! アウチ：んっんー。実にイイ質問ですねえ。ヒヨコちゃんにしては上出来です。 Payne: Mm-hmm. That’s a very good question, coming from a novice such as yourself. アウチ：被告人。あなたは、以前えん罪被害にあいかけたとか？ Payne: But first, a question for the defendant. Have you ever been brought up on false charges? シノブ：え！は、はい…。 Woods: What?! Wh-Why yes… Yes, I have… アウチ：それで、法廷にうらみを持ったのでしょう？ Payne: And did that experience cause you to harbor a grudge against the court system?
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ココネ：異議あり！ Athena: Objection! ココネ：待ってください！それは爆破の動機になるなら… Athena: Now, wait just one minute! If that kind of thing was a motive for blowing things up… ココネ：わたしたちの依頼人は、全員爆弾犯になっちゃうじゃないですか！ Athena: …then every one of our clients would turn into bombers! サイバンチョ：たしかに、法廷がいくつあっても足りませんぞ！ Judge: That’s a valid point. We wouldn’t have a single courthouse left standing in the land. アウチ：法廷にうらみを持つのは、被告人だけではないでしょう… Payne: I concede the accused isn’t the only one who might bear resentment against the courts. アウチ：しかし、犯人は被告人でしかありえないのです。 Payne: But Ms. Woods is the only person who could have committed this crime. アウチ：被告人の有罪を証明する決定的な証拠が見つかっているのですから。 Payne: Why? Because we have found some decisive evidence that proves the defendant’s guilt. ココネ：（決定的な…証拠？） Athena: (Decisive, huh? I’ll believe it when I see it!) アウチ：爆弾の《ある特徴》が、被告人が犯人であることを示しているのです。 Payne: It involves a very unique aspect of the bomb itself, Your Honor. サイバンチョ：その特徴は、何なのですかな？ Judge: And what exactly was so unique about it? アウチ：そうですねえ…。 Payne: Hmm… アウチ：それは、弁護人に答えていただきましょうか。 Payne: Why don’t we have Ms. Cykes answer that question? ココネ：え？わわわ、わたしですか？ Athena: Huh? M-Me? アウチ：んっんー。どうやらアナタはたいそう緊張している様子。 Payne: Mm-hmm. I notice that you appear to be very nervous. And, well, gentleman that I am… アウチ：紳士たる私は、それを簡単な問題でほぐしてあげようというのですよ。 Payne: …I’d like to offer you the chance to gain some confidence with such an easy question. ココネ：（ハラだたしいほどのヨユウね。ヤな感じ…いや、ヤな検事！） Athena: (Could he BE any more condescending?! Really! What a thoroughly unpleasant man!) モニタ：イヤナケンジ―！ Widget: “L” is for “Loser”! アウチ：な！今、なんとッ？ Payne: Harrumph! What did it just say?! ココネ：な、なんでもないですッ！ Athena: N-Nothing. Not a single thing… ココネ：（こういうときは、どうしたらいいんだっけ？） Athena: (Now, let’s see… What was I supposed to do at a time like this?) ココネ：（えーと…そうだ！《法廷記録》！） Athena: (Oh, I know! The Court Record!) ココネ：（必要な情報は《法廷記録》のどこかに書いてあるはず！）
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Athena: (The information I need is somewhere in the Court Record!) サイバンチョ：それでは、弁護人。答えてください。 Judge: All right, Ms. Cykes. Let’s hear your answer. サイバンチョ：法廷を爆破した爆弾の特徴とは？ Judge: What was unique about the bomb that blew up the courtroom? Was it because it was… Opt: 王泥喜のバッグに入っていた Opt: In Apollo’s briefcase Opt: 裁判長のポケットに入っていた Opt: In the Judge’s pocket Opt: ぬいぐるみに入っていた Opt: Inside a stuffed animal ココネ：亜内検事！ば、バカにしないでください！ Athena: Mr. Payne! What kind of simpleton do you take me for?! ココネ：爆弾は、この凶悪な顔つきのゾウさんの中に… Athena: It was stuffed inside a stuffed animal! ココネ：“ぬいぐるまれて”いたんですッ！ Athena: Its evil intentions covered up by a cute exterior! アウチ：ククッ。いいでしょう。よくできました！ Payne: Heh heh. Very good. Have a cookie. アウチ：爆弾は、法廷で爆発した瞬間もぬいぐるみの中だったそうです。 Payne: The bomb that went off in the courtroom was indeed hidden inside a stuffed animal. ココネ：（へっへーん！カンペキ！ズバッと答えちゃった！） Athena: (There, how do you like that? Not bad, huh? ココネ：（最初は緊張してたけど、大丈夫！わたし…やれる！） Athena: (I AM fine, just like I said from the start! I can do this!) サイバンチョ：たしかに、ずっと“ぬいぐるまれて”おりましたな。 Judge: Yes, as I recall, the bomb was stuffed inside a stuffed animal the whole time. サイバンチョ：結局どんな形の爆弾だったのか見ることができないままでした。 Judge: I never even got to take a look at it. サイバンチョ：しかし、その凶悪な顔をしたゾウが、どう被告人と結びつくのですか？ Judge: But what connection does this impish elephant have with the defendant? アウチ：その答えは…もうひとつの証拠品にあります。 Payne: The answer to that question lies in another piece of evidence, which I have here. サイバンチョ：何ですか、これは…？少々こげているようですが？ Judge: And what, pray tell, is this? It appears to be a little singed. アウチ：シッポですよ。あわれ爆発の…被害者のね。 Payne: It’s a tail, Your Honor. The tail of a poor victim of the explosion. サイバンチョ：まさか！賀来刑事には、シッポがあったというのですか！ Judge: This is incredible! Are you saying it’s Detective Arme’s tail?! アウチ：ちがいます。私の言っているのは、このぬいぐるみのことですよ。 Payne: Your Honor is so very close, but no. It belongs to this stuffed animal. アウチ：《ねつゾウくん》などという、ふざけた名前だとか…。 Payne: It’s called the Phony Phanty. A rather unpleasant name, if you ask me.
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サイバンチョ：知っていますぞ。えん罪撲滅運動のマスコットキャラクターですな。 Judge: He’s the mascot for a campaign to eliminate false evidence and false charges, is he not? アウチ：その通り。決めゼリフは…“ねつ造しちゃうゾウ！”です。 Payne: Exactly. His motto is “Phony Evidence is just Trunked up!”. ココネ：（ひどいな…いろんな意味で） Athena: (That’s so wrong on so many levels.) アウチ：このぬいぐるみのシッポは、表面がヴィニール製でしてね。 Payne: The Phony Phanty’s tail is made of vinyl cloth. アウチ：その表面から出たのですよ。…被告人の指紋が。 Payne: And we found something very interesting on its surface… the defendant’s fingerprints. ココネ：（な、なんですって！） Athena: (WH-WHAAAAAT?!) アウチ：ねつゾウくんから出た本物の証拠。まさしく、ウソから出たマコトです。 Payne: The Phony Phanty provided the prosecution with all the evidence we needed. アウチ：これで、被告人が爆弾に触れたことが証明されました！ Payne: It clearly proves that the accused handled the bomb! シノブ：あ、あたし…うううう…あうッ！ Woods: I… Uhhh… Eep! ココネ：（そ、そんなバカな！どうして、しのぶの指紋が？） Athena: (But that doesn’t make any sense! Why would Junie’s fingerprints be on it?!) サイバンチョ：ふむう。たしかに、これは動かしがたい証拠ですな。 Judge: Hmm… That does appear to be pretty irrefutable evidence… サイバンチョ：証拠品として受理しましょう。 Judge: The court accepts it as evidence. 法廷記録：ねつゾウくんのシッポ－爆弾が入っていたぬいぐるみの一部。被告人の指紋を検 出。 Court record: Phony Phanty Tail – A piece of the stuffed animal that the bomb was inserted into. The defendant’s fingerprints were found on it. Nar：証拠品《ねつゾウくんのシッポ》のデータを法廷記録にファイルした。 Nar: Phony Phanty Tail added to the Court Record. サイバンチョ：被告人。何か言うことはありますか？ Judge: Ms. Woods, do you have an explanation for this? シノブ：……あたし…わかりません。あたし…。ケホッケホッ。 Woods: …I… I don’t understand… I… *cough, cough* アウチ：弁護人、いかがですかな？ Payne: How about you, Ms. Cykes? アウチ：この決定的な証拠に、説明がつきますか？ Payne: Do you have any plausible explanation to refute this decisive piece of evidence? ココネ：そ、それはその…ええと。あの…。 Athena: W-Well, I… uh… ココネ：（だ、ダメ！何も思いつかない！） Athena: (I-I can’t do it! I can’t think of a single thing!) ココネ：（わたしが、しのぶを…守らないといけないのに！）
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Athena: (But I’d better come up with something… for Junie’s sake!) アウチ：答えられないならば、このまま《判決》…でもよいですよ？ Payne: If you can’t produce an answer, we could always go straight to the ruling, if you prefer. ココネ：（そ、そんな！な、なにか、しゃべらなくちゃ…！） Athena: (Ack, no! I have to say something – fast!) ココネ：（そんな…声が出ない…こんなときに…！） Athena: (Oh, no! I can’t get my voice to work! Why now, of all times…?!) ココネ：（乗り越えた…はずなのに…わたし、まだ戦えないの？） Athena: (I thought I overcame this already… Maybe I’m still not ready to stand in court?)
反論の余地なしのようですなあ。 As you can see there is no room for debate. 異議あり！ Objection! あなたは… Why, it’s you.
ナルホド：ココネちゃん。おそくなっちゃってごめん。 Phoenix: Sorry it took me so long to get here, Athena. ナルホド：オドロキくんから、連絡受けたんだ… Phoenix: Apollo explained the whole thing to me over the phone. ナルホド：“オレの代わりに、希月さんを助けてあげてほしい”って。 Phoenix: He asked me to come help you out in his place. ココネ：…ご、ごめんなさい。 Athena: …Thanks for coming. ココネ：くやしいけど…。わたし、1 人じゃ何もできませんでした。 Athena: I hate to admit it, but I was having a real rough time on my own. ナルホド：そんなことないさ。たった 1 人でよく耐えたよ。 Phoenix: Oh, I don’t know. I think you were doing just fine, all things considered. ナルホド：おかげで、ぼくも合流できた。形勢逆転だ！ Phoenix: And you hung in there, giving me enough time to get here. Now, let’s turn things around! ココネ：は、はいッ！ Athena: You got it, Boss! サイバンチョ：ほっほっほ。突然の登場とは…。 Judge: Ho h oho. Look who showed up out of the blue. サイバンチョ：成歩堂くん。あなたには、いつもおどろかされますな。 Judge: If it isn’t Mr. Phoenix Wright. You always manage to surprise me. ナルホド：裁判長！亜内検事は早くも判決を求めましたが… Phoenix: Your Honor! Mr. Payne has called for an early ruling… ナルホド：まだ審理がなされていないことが多くあります。 Phoenix: …but I believe there are still many things that need to be deliberated. ナルホド：どうやってこのシッポに被告人の指紋がついたのか？ Phoenix: How did Ms. Woods’s fingerprints wind up on the stuffed animal tail? ナルホド：そもそも、どうやって爆弾は爆発させられたのか？
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Phoenix: How was the bomb even detonated? ナルホド：それらを明らかにしなければ、公正な判決は下せません。 Phoenix: Until these questions are answered, I assert it’s impossible for a fair ruling to be made! サイバンチョ：ふむう。その通りですな。 Judge: Hmm… You are absolutely right. サイバンチョ：審理を続けます。よろしいですね。亜内検事。 Judge: Let us continue from where we left off. I assume you have no objections, Mr. Payne? アウチ：ククッ…かまいませんよ。 Payne: Heh heh. None at all, Your Honor. シノブ：ケホッケホッ…………ケホッケホッケホッ Woods: *cough, cough*…………*cough, cough* *cough* ナルホド：（森澄さん、かなりつらそうですな…） Phoenix: (Ms. Woods really looks like she’s having a hard time.) ココネ：ナルホドさん！しのぶの様子がおかしいんです。 Athena: Junie’s really struggling, Mr. Wright. ココネ：まるで、法廷そのものをこわがっているみだいで…。 Athena: I get the sense she’s afraid of the courtroom itself. ナルホド：え？どういうこと？ Phoenix: Because of yesterday? ココネ：たぶん、爆発に巻き込まれたことがトラウマになってるんだと思います。 Athena: Yeah. It was understandably very traumatic for her. ナルホド：そうか…。ツライのにがんばってくれたんだね。 Phoenix: Poor thing. And here she is, back at the courthouse again, being so brave. ナルホド：裁判長…提案があります。 Phoenix: I’d like to make a request, Your Honor. ナルホド：できれば、被告人を控え室で休ませたいのですが…。 Phoenix: If at all possible, I’d like to have Ms. Woods rest in the lobby. サイバンチョ：…わかりました。被告人の体調のことは聞いています。 Judge: Hmm… Given the defendant’s condition… サイバンチョ：特別に許可しましょう。 Judge: Very well, I grant special permission. ココネ：しのぶは、控え室で休んでいて。あとは、わたしたちにまかせてさ！ Athena: You go get some rest, Junie, and leave the rest to us! シノブ：うん…。ごめんね。ありがとうケホッケホッ。 Woods: Okay… Thank you. Sorry about this… *cough, cough* アウチ：成歩堂 龍一…。 Payne: Phoenix Wright… アウチ：アナタに会うのを楽しみにしていましたぞ。 Payne: I’ve been looking forward to meeting you. ナルホド：…おひさしぶりです。 Phoenix: …It’s been a while, Mr. Payne. アウチ：ククク。聞きしに勝るフシアナぶり。“はじめまして”…でしょう？ Payne: Heh heh. You’re more clueless than I’d heard. I do believe you mean, “How do you do?”
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アウチ：私は、亜内 文武（あうちふみたけ）。 Payne: For I… am Gaspen Payne! アウチ：あなたの永遠のライバル亜内 武文（たけふみ）の弟です！ Payne: I am the younger brother of your longstanding rival, Winston Payne! ナルホド：ええッ！ Phoenix: WHAAAT?! ナルホド：（ぼくと亜内検事ってライバルだったけ…？） Phoenix: (“Longstanding rival”…? When were we ever rivals, let alone “longstanding”…?) アウチ：兄の受けたクツジョク。私が晴らさせていただきます！ Payne: You’ll see, Mr. Wright. I will cleanse Winston of the disgrace he met with at your hands! ナルホド：（なんだかめんどくさそうなヒトだな…） Phoenix: (*sigh* Looks like this royal Payne is going to be as thoroughly unpleasant as the other.) アウチ：ククッ。裁判長！ Payne: Heh heh heh. Your Honor! アウチ：検察側は、続いて、決定的な証人を用意しております。 Payne: The prosecution would now like to call a decisive witness to the stand. アウチ：被告人が、いかに法廷で爆弾を爆発させたかを証言できる証人です。 Payne: This witness will testify as to how the accused detonated the bomb in the courtroom. サイバンチョ：わかりました。それでは…次の証人を入廷させてください！ Judge: Very well. Please call your witness, Mr. Payne! ？？？：………… ???: ………… アウチ：それでは、証人。名前と職業を。 Payne: Witness, your name and occupation, please. サイバンチョ：しょ…証人？ Judge: W-Witness? バラシマ：名前→馬等島 晋吾（ばらしましんご） Tonate: NAME: TED TONATE バラシマ：職業→機動隊の爆弾処理係 Tonate: OCCUPATION: BOMB DISPOSAL SPECIALIST サイバンチョ：なんですか！この機械のような声は！ Judge: Oh, my! What a strange, robotic voice you have! バラシマ：《キーボード入力》＝《合成音声》。ワタシが、話しているのと同じデス。 Tonate: SPEECH SYNTHESIS VIA TYPING. IT IS THE SAME AS ME TALKING. ココネ：まるで、ロボットですね…。 Athena: He sounds exactly like a robot… サイバンチョ：普通に話せないのですか！ Judge: Can’t you speak in a normal manner?! バラシマ：…話せマス。 Tonate: I can. ナルホド：（話なせるのかよ！） Phoenix: (He can!) バラシマ：でも、話すのはキライデス。非効率デス…ので。
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Tonate: BUT I DO NOT LIKE TO SPEAK. SPEAKING IS INEFFICIENT. バラシマ：【消費エネルギー】話す＞打ち込み OK? Tonate: ENERGY EXPENDITURE: SPEAKING>TYPING UNDERSTAND? サイバンチョ：うむう。…困った証人ですな。 Judge: Hmm… What an odd witness. アウチ：彼は、今回の事件で爆弾の処理をし、爆発の現場にも立ち会っていました。 Payne: Mr. Tonate was in charge of the bomb for that trial and was there when it went off. サイバンチョ：爆弾処理係ということは…被害者とは仕事仲間だったのですか。 Judge: Being a bomb squad specialist, do you have any relation to the defendant? (FOUT) バラシマ：イイエ。彼女とは今回の仕事で初めて会いマシタ。 Tonate: NEGATIVE. I FIRST MET THE GIRL WHILE ON THIS JOB. バラシマ：警察組織は、人数が多い。名前も知らない署員が大半デス。 Tonate: MANY PEOPLE ARE EMPLOYED BY THE POLICE. I KNOW ONLY A FRACTION OF THEM. バラシマ：しかし、死体を発見したときは、さすがに驚きマシタ… Tonate: HOWEVER, I WAS SHOCKED WHEN I FIRST DISCOVERED THE BODY OF THE VICTIM. サイバンチョ：死体を発見した…？ Judge: Shocked? バラシマ：爆発の後、最初に現場に入ったのは、ワタシでした。 Tonate: I WAS THE FIRST ONE ON THE SCENE AFTER THE EXPLOSION. バラシマ：安全を確保するためだったのですが、死体を発見してしまったのデス。 Tonate: I WENT THERE TO ENSURE SAFETY, BUT I ENDED UP DISCOVERING A DEAD BODY. ナルホド：（死体の第一発見者なのか…） Phoenix: (Hmm… So he was the first to discover the body, was he?) アウチ：まずは、爆発の瞬間の状況について、証言してもらおうと思います。 Payne: He is here to testify about the circumstances surrounding the moment of the explosion. サイバンチョ：…わかりました。証言をお願いします。しかし… Judge: Very well. The court will hear Mr. Tonate’s testimony. サイバンチョ：せめて、顔だけは出して証言してください！ Judge: But at the very least, show this court some respect and remove that faceguard, Witness! Nar: 証言開始 Nar: Witness Testimony Nar: ～爆発のときのこと～ Nar: -- When the Bomb Went Off -- バラシマ：あの爆弾は、ワタシが解除し、証拠品として法廷に運んできマシタ。 Tonate: THE BOMB WAS ORIGINALLY DISARMED BY ME, THEN TRANSPORTED HERE AS EVIDENCE. バラシマ：爆弾の名前＝HH－3000 リモコン操作＆時限式（両対応） Tonate: BOMB NAME: HH-3000 OPERATED BY TIMER OR WITH A REMOTE バラシマ：裁判を傍聴席から見ていたワタシは、おどろきマシタ。 Tonate: I WAS WATCHING FROM THE GALLERY WHEN I SUDDENLY BECAME ALARMED. バラシマ：爆弾のカウントダウンを始めているのが見えたのデス。 Tonate: I SAW THAT THE BOMB’S TIMER WAS COUNTING DOWN. ナルホド：解除したはずの爆弾のスイッチが入れ直されていたのですか？ Phoenix: So even though the bomb was supposed to be disarmed, it somehow got switched on?
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バラシマ：その通りデス。HH―3000 の時限スイッチの起動はカンタンデス。 Tonate: PRECISELY. ACTIVATING THE TIMER IS VERY SIMPLE. バラシマ：①コードをつないで再起動②時限スイッチを入れる Tonate: 1. CONNECT WIRES 2. SWITCH ON TIMER バラシマ：知ってさえいれば、子供もできる。弁護人、アナタにだってできマスヨ。 Tonate: A MONKEY COULD DO IT. I AM SURE EVEN YOU WOULD BE ABLE TO, MR. WRIGHT. ココネ：ナルホドさん。さりげなく、子どもあつかいされましたね…。 Athena: Uh, I guess this makes you the Blue Monkey in this barrel of fun, Boss… ナルホド：それでは、尋問を…ん？ Phoenix: *ahem* I’d now like to begin my cross-examination—Huh? サイバンチョ：証人…それは？ Judge: Mr. Tonate…! What is that? バラシマ：HH－3000…爆弾… Tonate: HH-3000… AKA: A BOMB. ナルホド：（ば、爆弾！） Phoenix: (A B-BOMB?!) サイバンチョ：ひいッ！ Judge: Great googly moogly! アウチ：ぎゃあッ！ Payne: Yeeeaaaargh! サイバンチョ：しょ、証人！そんなもの早くしまってください！ Judge: Mr. Tonate! I-I demand that you disarm it this instant! バラシマ：解体完了。 Tonate: Disassembly complete. バラシマ：ム…５．３秒…。自己ベストまで、あと０．２秒デス。 Tonate: HMPH. 5.3 SECONDS. 0.2 SECONDS SHORT OF MY PERSONAL BEST. サイバンチョ：お、おどかさないでください！ Judge: Are you trying to give me a heart attack?! I’m not exactly a spring chicken, you know! バラシマ：HH－3000 のコピー。同じもの再現。 Tonate: THIS IS AN EXACT REPLICA OF THE HH-3000. バラシマ：解体訓練用のダミー✕爆発 〇解体 Tonate: IT IS USED TO PRACTICE DISARMING BOMBS. DISARM = SUCCESS. EXPLOSION = FAILURE. サイバンチョ：爆発した爆弾のコピーですか…。こういう形の爆弾だったのですね。 Judge: An exact replica of the bomb that exploded, is it? So that’s what it looked like. バラシマ：開廷直前、証拠品の確認のとき撮られた写真を提出いたしまショウ。 Tonate: I SUBMITTED A PHOTOGRAPH OF THE REAL BOMB TAKEN JUST BEFORE THE TRIAL. バラシマ：高さ・横幅・奥行：25cm 重さ：５．４ｋｇ…完全に再現。 Tonate: DIMENSIONS: 10” H x 10” W x 10” D WEIGHT: 12 LBS… A PERFECT REPLICATION. サイバンチョ：なるほど、たしかにそっくりですな。 Judge: Your bomb does appear to be a very good copy, indeed. バラシマ：しかし、爆発させる機能は、再現できませんデシタ…。 Tonate: YES, HOWEVER I COULD NOT REPLICATE THE DETONATION MECHANISM. バラシマ：とても珍しい仕組みの爆弾でネ。…くちおしいことデス。
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Tonate: IT HAS A VERY PUZZLING WIRING SETUP. IT IS REGRETTABLE I COULD NOT REPLICATE IT. サイバンチョ：証人。そこまで、再現する必要はありませんぞ。 Judge: Witness, that’s enough! There’s no need to replicate anything here! 法廷記録：HH－3000 爆弾－ぬいぐるみに入っていた。時限スイッチをリモコンで操作能。 Court record: HH-3000 Bomb – It was hidden inside a stuffed animal and can be detonated remotely. Nar: 証拠品《HH－3000 爆弾》のデータを更新した。 Nar: HH-3000 Bomb updated in the Court Record. サイバンチョ：それでは、弁護人。尋問を…おや？ Judge: And now if the defense would begin their cross-examination-- Hm? サイバンチョ：希月弁護士の姿が見えないようですが？ Judge: Where has Ms. Cykes gone to? ココネ：……………… Athena: ………… ナルホド：ココネちゃんもう出てきても大丈夫だよ。 Phoenix: Athena, you can come out now. ココネ：さあ！ナルホドさん！さっそくやっちゃいましょう！ Athena: Okay, Mr. Wright! Let’s get to work! ナルホド：ずいぶん怖かったんだね… Phoenix: I guess you were pretty scared, huh? ココネ：な、何言ってるんですか！ゼンゼンですよ！ Athena: Wh-What?! I don’t know what you’re talking about! モニタ：コワカッタヨー。 Widget: She was about to bolt! ココネ：あ！コラ！モニ太！ Athena: Hey, put a sock in it, Widget! ナルホド：（いつもながら、強がりがバレバレだよな…） Phoenix: (*sigh* As transparent as ever…) ココネ：ええと…ナにするんでしたっけ？ Athena: Now, let’s see… Where were we…? ナルホド：《尋問》をするんだよ！ Phoenix: We were at the “cross-examination”! ココネ：ああ！《尋問》ですね！すみません。 Athena: Oh! Cross-examination! Of course! ナルホド：（目が泳いでるぞ…。本当に大丈夫かな？） Phoenix: (She seems disoriented. I wonder if she’s all right…) ナルホド：（ココネちゃんに、《尋問》のやり方を、確認してみようか？） Phoenix: (Maybe I should ask Athena if she remembers how to cross-examine… to help her focus.) Nar: ぼくのコタエを示そう Nar: Select your answer Opt: 《尋問》について聞く Opt: I’d better ask Opt: そんな必要はない Opt: Nah, she’ll be fine
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Nar: 尋問開始 Nar: Cross Examination Nar: ～爆発のときのこと～ Nar: -- When the Bomb Went Off -- バラシマ：あの爆弾は、ワタシが解除し、証拠品として法廷に運んできマシタ。 Tonate: THE BOMB WAS ORIGINALLY DISARMED BY ME, THEN TRANSPORTED HERE AS EVIDENCE. ナルホド：待った！ Phoenix: Hold it! ナルホド：解除した…間違いないですか？ Phoenix: You say that you disarmed the bomb… but are you really sure it was disarmed? バラシマ：間違いありマセン。この手で確かに解除しマシタ。 Tonate: ABSOLUTELY. I CAN DISARM ANYTHING. バラシマ：このように一瞬にしてね！ Tonate: IN A FLASH! ナルホド：いやいや！解除を通り越してバラバラにしてるじゃないですか。 Phoenix: Uh, that looks more like “dismantle” than “disarm” to me… バラシマ：おっとシツレイ。 Tonate: Oh. Pardon me. ナルホド：えーと。解除し忘れた可能背は… Phoenix: Let’s see. Is there any chance you could have forgotten to disarm the bomb? バラシマ：そんな初歩的なミスあり得マセン。 Tonate: IMPOSSIBLE! I DO NOT MAKE RUDIMENTARY MISTAKES LIKE THAT. ナルホド：ニンゲン、うっかりってことも…。 Phoenix: They say “to err is human.” ナルホド：（まあ。ニンゲンにはあまり見えないけどさ。） Phoenix: (Although the jury is still out on this guy…) アウチ：クックック。成歩堂弁護士。資料によれば… Payne: Heh heh heh. If you must know, Mr. Wright, according to the court’s own records… アウチ：ちゃんと爆弾が解除されたことを、係官が確認しているようですな。 Payne: …the fact that the bomb had indeed been disarmed was officially confirmed. ナルホド：（さすがに、解除を忘れたってことはないか…） Phoenix: (Hmm… I guess I can rule out the possibility that he forgot to disarm it…) ナルホド：その爆弾について、くわしく教えていただけますか？ Phoenix: Could you talk about the bomb in a little more detail for the court, Mr. Tonate? バラシマ：わかりマシタ。 Tonate: CERTAINLY. バラシマ：爆弾の名前＝HH－3000 リモコン操作＆時限式（両対応） Tonate: BOMB NAME: HH-3000 OPERATED BY TIMER OR WITH A REMOTE ナルホド：待った！ Phoenix: Hold it! ナルホド：大きさや重さはどのくらいだったのですか？ Phoenix: What was the approximate size and weight of the bomb? バラシマ：寸法→W２５✕D25✕H２５ 重量→５．４ｋｇ
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Tonate: DIMENSIONS: 10” H x 10” W x 10” D WEIGHT: 12 LBS. バラシマ：写真にも書かれていマス。 Tonate: THIS INFORMATION IS ALSO WRITTEN ON THE PHOTOGRAPH. サイバンチョ：写真の裏側に書かれてますね。 Judge: Ah, yes. Here it is, on the back. サイバンチョ：ええっと…外装は厚み８ミリの合金製の板。 Judge: According to this, the case is made out of alloy plating five-sixteenths of an inch thick. サイバンチョ：どうやら、重くて厚い鉄のカタマリのようですな。 Judge: That certainly sounds like one thick and very heavy bit of metal. ココネ：足の上に落っことしたら飛び上がりそうですね。 Athena: I bet if I dropped that thing on your foot, you’d be hoppin’! ナルホド：足の上じゃなくても飛び上がるよ。…爆弾なんか落としたらね。 Phoenix: If you dropped that thing anywhere, I’d be “hopping” for the nearest exit! サイバンチョ：爆弾のことはよくわかりました。 Judge: Very well. I believe the court has heard enough about the bomb itself. サイバンチョ：それであなたは、その爆弾を…どこから見ていたのですかな？ Judge: So, Mr. Tonate, you were keeping an eye on the bomb? Where were you watching from? バラシマ：裁判を傍聴席から見ていたワタシは、おどろきマシタ。 Tonate: I WAS WATCHING FROM THE GALLERY WHEN I SUDDENLY BECAME ALARMED. ナルホド：待った！ Phoenix: Hold it! ナルホ：なぜ、傍聴席にいたんですか？ Phoenix: Why were you in the gallery? バラシマ：その日、仕事は終わっていましたが、万が一にそなえて見張っていマシタ。 Tonate: MY DUTIES MAY HAVE BEEN OVER FOR THE MOMENT, BUT I WANTED TO KEEP WATCH. バラシマ：解除されているとはいえ“火”の“暴”力と書いて“爆”弾。 Tonate: EVEN THOUGH THE BOMB WAS DISARMED, YOU CAN NEVER BE TOO CAREFUL. バラシマ：キケンなモノであることには変わりありマセン。 Tonate: EXPLOSIVE DEVICES ARE VERY DANGEROUS THINGS. サイバンチョ：ふむ。すばらしい心がけです。見習いたいものですな。 Judge: Ah, how admirably responsible of you. A model to be emulated. バラシマ：爆弾解除の練習は、毎日しておりマス。 Tonate: I PRACTICE DISARMING BOMBS EVERY DAY. バラシマ：組み立ての練習もネ…。 Tonate: I practice assembling them, too… ナルホド：（組み立ては練習する必要…あるのか？） Phoenix: (The disarming part, I get, but assembling them…?) ココネ：わたしだって、証拠品をつきつける練習は毎日してますよ！ Athena: Well, I’ll have you know that I practice presenting evidence every day myself! バラシマ：ホウ。では、証拠品をつきつけられる練習は？ Tonate: I SEE. BUT DO YOU EVER PRACTICE HAVING EVIDENCE PRESENTED TO YOU? ココネ：えッ！そ、それは、していませんけど… Athena: P-Presented to me? What…? No, I….
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バラシマ：…まだまだデスネ。 Tonate: THEN YOU CANNOT VERY WELL CALL YOURSELF A PROFESSIONAL, CAN YOU? ココネ：くっそー！なるほどさん！わたし、今日からやりますから！ Athena: Grr! That does it! I’m gonna start practicing having evidence presented to me every day! ココネ：証拠品つきつけ千本ノック！お願いします！ Athena: And you’d better drink some coffee, Boss! We’re gonna be pulling an all-nighter! ナルホド：その必要はないと思うよ…。（ムダに張り合わないでほしいな） Phoenix: Uh, I don’t think that will be necessary… (…Or worth either of our time.) サイバンチョ：…それで、傍聴席からはどんな様子が見えたのですか？ Judge: So, Mr. Tonate, what did you witness from the gallery? バラシマ：爆弾のカウントダウンを始めているのが見えたのデス。 Tonate: I SAW THAT THE BOMB’S TIMER WAS COUNTING DOWN. ナルホド：待った！ Phoenix: Hold it! ナルホド：カウントダウンをしているのがはっきりと見えたのですか？ Phoenix: You saw it counting down clearly, with your own eyes? ナルホド：爆弾の小さな時計が、傍聴席から見えるとは思えませんが…。 Phoenix: I’d hardly think a timer as small as the one on this bomb could be seen from the gallery. バラシマ：このゴーグルは、小さなモノも、遠くのモノもよく見えマス。 Tonate: THESE GOGGLES HELP ME SEE VERY SMALL THINGS CLEARLY FROM VERY FAR AWAY. バラシマ：ワタシにはアナタが目と鼻の先にいるように見えていマスヨ。 Tonate: I CAN EVEN SEE WHAT YOU HAD FOR BREAKFAST BY LOOKING AT YOUR TIE. ナルホド：（なんだかいい気分じゃあないなあ） Phoenix: (Why do I suddenly feel like a bug under a magnifying glass?) ココネ：うーん。それなら時計が見えても、おかしくないですね。 Athena: Hmm… I guess it’s possible he saw the timer if he was wearing those goggles. ナルホド：そうかな。ぼくにはちょっと気になるコトがあるけど…。 Phoenix: I’m not so sure. There’s something that just doesn’t sit right with me. ココネ：えッ？気になるコト…ですか？ Athena: Hm? I don’t think I follow… ナルホド：（爆弾は完全にぬいぐるまれていたはずだ…） Phoenix: (The bomb was completely hidden inside the stuffed animal.) ナルホド：（ただのぬいぐるみにしか見えないぐらいに…！） Phoenix: (So well-concealed, in fact, that it didn’t even look like a bomb at all!) ココネ：尋問は、証言と証拠品を見くらべて、ムジュンを探すんですよね！ Athena: So you’re trying to find testimony that conflicts with the evidence, right? ナルホド：そうだね。まずは、証言をよく聞くこと。 Phoenix: That’s right. Listening carefully to Mr. Tonate’s testimony is just the first step. ナルホド：そして、それと関連する証拠品をよく見返すことがポイントだね。 Phoenix: After that, it’s a matter of taking a look at any evidence that seems relevant. ココネ：《つきつける》（R）で法廷記録を開いて、証拠品を確認！ Athena: Remember that you can touch “Present” (R) when you want to open the Court Record! ココネ：証言とムジュンを見つけたら、さらに《つきつける》（✕）です！
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Athena: If you find evidence that conflicts with the testimony, “Present” (x) it! ココネ：えーと。今回の証言は、爆弾が爆発したときのことだから… Athena: Let’s see… This testimony is about when the bomb went off… ココネ：あの“ぬいぐるまれ爆弾”の状態が重要になってきそうですね！ Athena: So I’d think that what state it was in at the time would be pretty important! ナルホド：（ぬいぐるみに入っていて、爆弾に見えなかった爆弾が…） Phoenix: (Hmm… A bomb that didn’t look like a bomb because it was inside a stuffed animal, huh…) ナルホド：異議あり！ Phoenix: Objection! ナルホド：爆弾のカウントダウンが見えた…たしかですか？ Phoenix: So you say you saw the bomb’s countdown, is that right? バラシマ：もちろんデス。コクイッコクとゼロへと近づく時計がハッキリと！ Tonate: OF COURSE. I CLEARLY SAW IT COUNTING DOWN TO ZERO. ナルホド：バラシマさん…。あなたは、ウソをついている！ Phoenix: And I say… that you are CLEARLY lying! バラシマ：な、なにを言っているのデスカ？ Tonate: WHAT ARE YOU TALKING ABOUT? ナルホド：時計なんか見えるはずがないんですよ。 Phoenix: There is no way you could have seen the bomb’s timer. ナルホド：だって、爆弾はぬいぐるみの中に入っていたんですから。 Phoenix: After all, the bomb was concealed inside a stuffed animal. バラシマ：！ Tonate: ! ナルホド：バラシマさん！どうして爆発するとわかったんですか？ Phoenix: Mr. Tonate! How can you claim to know the bomb was about to go off… ナルホド：時計は見えなかったはずなのに！ Phoenix: …when you couldn’t even see the timer?! バラシマ：うごおおおおッい PLY こい MV じ DDKFH ぱ K そ KD おお！！ Tonate: AAAAAAAGH! BUT THAT IJLS KDSOI EDJMB91 A LAJ72Z OIQE AKCXW! アウチ：そ、そんな…バカなッ！ Payne: Wh-What?! NOOOOOOOOO! サイバンチョ：たしかにこれはムジュンしています！証人！どうなのですかッ！ Judge: That does seem like a glaring inconsistency, indeed! Witness, how do you explain this?! バラシマ：うぐっ………そ、それは… Tonate: WELL… I… I… ココネ：さすが、ナルホドさんです！ Athena: Ooh! That was great, Mr. Wright! ココネ：いきなりムジュンを見つけちゃいました！ Athena: You found a contradiction right off the bat! ナルホド：ココネちゃん。 Phoenix: Always remember, Athena. ナルホド：証言にムジュンが生まれるとき、そこには必ず理由がある。 Phoenix: When you find an inconsistency in a witness’s testimony, there’s always a reason behind it.
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ナルホド：ウソ…隠しゴト…ヒミツ何かが隠されているんだ。 Phoenix: It could be a lie, a hidden meaning, a secret… Whatever it is, it’s up to us to dig it out. ココネ：ムジュンを指摘していけば、それを暴くことができるってことですね！ Athena: And pointing out every contradiction we find is the best way to do it, right, Boss?! ナルホド：さて。バラシマさんは、一体何を隠しているんだ…？） Phoenix: (Now the question is, what can we dig out of Mr. Tonate?) バラシマ：えーと。えーと。その…その… Tonate: WELL, LET ME SEE… I… UH… バラシマ：そんな…ちがうッ。あの…こんなはずじゃ… Tonate: NO,NO,NO. THERE MUST BE SOME MISTAKE… バラシマ：あ！そ、そそ、そうデス！お、思い出しマシタ。 Tonate: OH, YES! YES, OF COURSE! I REMEMBER NOW! バラシマ：…音です！音でわかったのですヨ。 Tonate: THE SOUND! I KNEW BECAUSE OF THE SOUND! サイバンチョ：音…というと？ Judge: Sound? What sound? バラシマ：この爆弾は時限スイッチが入ると、小さな時計の音がするのデス。 Tonate: WHEN THE TIMER OF THIS TYPE OF BOMB IS SWITCHED ON, IT BEEPS SOFTLY. バラシマ：《ピッピッピッピ》という。カウントダウンの音が。 Tonate: BEEP… BEEP… BEEP… IT IS THE SOUND OF THE BOMB COUNTING DOWN. サイバンチョ：なるほど …音ですか。 Judge: A beeping noise, you say? サイバンチョ：それならば、ぬいぐるみに入っていても気が付けますな。 Judge: I suppose it would be possible to notice that, even with the bomb inside the stuffed animal. バラシマ：ちょっとしたカンチガイでシタ。モウシワケナイ…。 Tonate: I SIMPLY MADE A MISTAKE. MY BAD. ナルホド：異議あり！ Phoenix: Objection! ナルホド：そんな小さな音が傍聴席から、聞こえたんですか！ Phoenix: How in the world did you hear such a tiny little sound all the way from the gallery?! バラシマ：時限スイッチの音は、ワタシの仕事にとって重要な音。 Tonate: LISTENING FOR THE SOUND OF A BOMB’S TIMER IS AN INTEGRAL PART OF MY WORK. バラシマ：聞き逃さないように、いつも訓練しているのデス。 Tonate: I CONSTANTLY UNDERGO TRAINING SO THAT I WILL NEVER MISS IT. ナルホド：そんなの訓練でなんとかなるとは、思えないのですが…。 Phoenix: I hardly think “training” would help you hear something so soft from so far away… ナルホド：（なんだ、なんだ！） Phoenix: (What now?!) バラシマ：アナタは、爆弾の解体をなめているようデスね…！ Tonate: ARE YOU MAKING LIGHT OF THE FINE SCIENCE OF DISARMING BOMBS? バラシマ：解体は、イノチをかけた【ミッション】なのデス！ Tonate: IT IS A SOLEMN MISSION THAT I PUT MY LIFE ON THE LINE TO PERFORM. バラシマ：時限スイッチの音ぐらい聞こえなければつとまらナイ！
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Tonate: WHAT KIND OF SPECIALIST WOULD I BE IF I COULD NOT HEAR A BOMB’S TIMER? バラシマ：マグロの解体ミョウとはわけがちがう！おわかりでショウ？ Tonate: It’s not like disassembling a toaster, you know! ナルホド：（見せたくてしかたがないって感じだけどな） Phoenix: (Now he’s just showing off.) アウチ：さっきから聞いていれば、音が小さい…小さい…と… Payne: You keep asserting that the sound was too tiny to hear, but the only tiny thing here… アウチ：小さいのは弁護人の器でしょう！うたぐり深い男は、嫌われますぞ。 Payne: …is your skill as a lawyer! Being suspicious is not an attractive quality, you know. ナルホド：（そんなこと言われても…） Phoenix: (And you’re just overflowing with attractive qualities, are you…?) アウチ：それとも…音が聞こえなかった証拠でもあるのですかねえ？ Payne: Or perhaps you have some proof that Mr. Tonate did not hear the sound? ナルホド：うッ…それは… Phoenix: Well… no, but… ナルホド：（うう…限りなくあやしいけど…） Phoenix: (…it still seems totally suspect…) ナルホド：（“聞こえなかった”という証明はむずかしいもんな…） Phoenix: (But it’s going to be really hard to prove that he DIDN’T hear something…) サイバンチョ：検察側の主張はわかりました。 Judge: If I have this correct, the prosecution’s argument is that… サイバンチョ：法廷に持ち込まれる以前に爆弾の再起動をした人物がいる… Judge: …someone reactivated the bomb before it was brought into the courtroom. サイバンチョ：しかし、亜内検事…。なぜ、それが被告人だと？ Judge: What I don’t understand, Mr. Payne, is why you believe that person to be Ms. Woods. アウチ：バラシマさんが、居合わせていたのですよ… Payne: That’s simple, Your Honor: Mr. Tonate happened to be there when it happened. アウチ：被告人が、爆弾を再起動したその瞬間に… Payne: He was there when the defendant rearmed the bomb. サイバンチョ：な、なんと！ Judge: What’s this, now!? バラシマ：裁判が始まる前… Tonate: IT HAPPENED BEFORE THE TRIAL STARTED バラシマ：ワタシと賀来検事が、爆弾を運んでいたときのことデス。 Tonate: IT WAS WHEN DETECTIVE ARME AND I WERE TRANSPORTING THE BOMB. バラシマ：ワタシたちは、爆弾を弁護士の控え室に持っていきマシタ。 Tonate: WE BROUGHT THE BOMB TO THE LOBBY FOR THE DEFENSE. バラシマ：爆弾＝証拠品。裁判の前に、見ておきたいというのデス。 Tonate: BOMB = EVIDENCE. THE LAWYER WANTED TO SEE IT BEFORE THE START OF THE TRIAL. アウチ：そこに、爆弾をねらって被告人がやってきたのです。 Payne: Looking for a chance to get at the bomb, Ms. Woods was already there in that lobby. アウチ：爆弾を再起動し、リモコンスイッチを盗み出すために…ね。 Payne: Her goal was surely to rearm the bomb and steal the remote switch.
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ナルホド：リモコンスイッチ？ Phoenix: The remote switch? バラシマ：爆弾を遠隔操作するリモコンスイッチデスヨ。 Tonate: YES. THE SWITCH THAT CONTROLS THE BOMB REMOTELY. DUH. バラシマ：事件以降、行方不明になっているのデス。 Tonate: IT HAS BEEN MISSING EVER SINCE THE INCIDENT. Nar: 証拠品《リモコンスイッチ》のデータを法廷記録にファイルした。 Nar: Missing Remote Switch added to the Court Record. Nar: リモコンスイッチ－爆弾を起動させるためのもの。爆発事件の直前に盗まれて現在は 行方不明。 Nar: Missing Remote Switch – A switch that starts the time bomb’s countdown. It was stolen just before the blast and is now missing. バラシマ：これは、ワタシのシッパイでもありマス。 Tonate: I AM PARTIALLY TO BLAME. バラシマ：爆弾のリモコンをケースの上に置いて弁護士と話しているスキに、 Tonate: I LEFT THE BOMB AND REMOTE ON TOP OF THE TRANSPORT CASE… バラシマ：爆弾を再起動され、リモコンスイッチを盗まれてしまったのデス。 Tonate: …AND THEY WERE REARMED AND STOLEN WHILE I WAS TALKING WITH THE LAWYER. アウチ：被告人は法廷で、リモコンを使って時限スイッチをいれたのですよ。 Payne: The defendant then used the remote from inside the courtroom to start the timer. ナルホド：異議あり！ Phoenix: Objection! ナルホド：どうして、再起動が控え室で行われたと断言できるんですか！ Phoenix: How can you assert so unequivocally that the bomb was rearmed in the lobby?! アウチ：異議あり！ Payne: Objection! アウチ：爆弾は厳重な《運搬ケース》に入れられていました。 Payne: The bomb was safely secured in the transport case. アウチ：爆弾が外に出されたのは、王泥喜弁護士の控え室だけなのです。 Payne: The only time it was outside of the case was in that lobby. アウチ：チャンスは、このときしかなかったのですよ。 Payne: Therefore, that was the one and only opportunity anyone had to meddle with it. ナルホド：バラシマさん以外がケースを開け、爆弾を取り出した可能性も… Phoenix: Someone other than Mr. Tonate could have opened the case and taken the bomb out. バラシマ：ありえませんな。このケースは、ワタシ専用なのデス。 Tonate: IMPOSSIBLE. THE TRANSPORT CASE IS ASSIGNED EXCLUSIVELY TO ME. バラシマ：ほら。ここに数字が書かれているでショウ？ Tonate: DO YOU SEE THIS NUMBER HERE? バラシマ：これは、ワタシの ID ナンバーなのデスヨ。 Tonate: THAT IS MY IDENTIFICATION NUMBER. バラシマ：ケースを開けるカギも、ワタシしか持っていないのデス。 Tonate: AND I HAVE THE ONLY KEY THAT CAN OPEN THE CASE. Nar: 証拠品《爆弾運搬ケース》のデータを法廷記録にファイルした。
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Nar: Bomb Transport Case added to the Court Record. Nar: 爆弾運搬ケース―馬等島さんと賀来検事が、爆弾を運んでいた。鍵は馬等島さんが所 持。 Nar: Bomb Transport Case – The case Tonate and Detective Arme transported the bomb in. Tonate has the key. ナルホド：くっ！しかし！亜内検事の主張は、推測にすぎません！ Phoenix: Nevertheless! Mr. Payne’s assertion is nothing more than conjecture! ナルホド：被告人がリモコンスイッチを盗んだ証拠はない！ Phoenix: You have no proof that it was Ms. Woods who stole the remote switch! アウチ：盗んでいないという証拠もありませんな。 Payne: And by the same token, you have no proof that it wasn’t her. アウチ：被告人が、爆弾に触ったという決定的な証拠はありますがね。 Payne: But what I DO have is a piece of evidence that proves the defendant handled the bomb. ナルホド：うおおおおおおッ！ Phoenix: AH! That TAIL! バラシマ：…５分２４秒２３。 Tonate: FIVE MINUTES, TWENTY-FOUR SECONDS, TWO POINT THREE DECISECONDS. バラシマ：弁護側の優勢は、たった５分しか持ちませんデシタナ。 Tonate: THE DEFENSE’S ADVANTAGE LASTED A MERE FIVE MINUTES. ナルホド：（…うう。こちらの手札が少なすぎる） Phoenix: (Urk. Talk about a rotten hand…) ナルホド：（向こうに指紋というカードがある限り、圧倒的に不利だ…） Phoenix: (As long as they have her fingerprints as their trump card, I’m at a big disadvantage.) サイバンチョ：ふむう…。 Judge: Hmm… サイバンチョ：もう一度、被告人から、直接話を聞く必要があるようですな。 Judge: It appears we will have to hear from the defendant herself once more. アウチ：おっしゃる通りですな。被告人を召喚したいと思います。 Payne: I wholeheartedly agree, Your Honor. I would like to recall Ms. Woods to the stand. サイバンチョ：弁護人。よろしいですかな？ Judge: I trust you have no objections, Mr. Wright? ナルホド：（森澄さんの体調は心配だけど、彼女の証言は必要だ） Phoenix: (I’m worried about her condition, but we DO need her testimony.) ナルホド：（でも…） Phoenix: (On the other hand…) ナルホド：（ココネちゃんは、怒るかもな…） Phoenix: (…I’m not sure I want to make Athena mad…) ココネ：…感じてます。ナルホドさんの《感情》。 Athena: …I can read your feelings you know, Boss. ナルホド：！（《感情》を読まれた…か） Phoenix: ! (Guess there’s no hiding from her, huh…) ココネ：大丈夫です。わたしもわかってます。しのぶの証言が必要なこと。 Athena: Don’t worry. I know we need her testimony.
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ココネ：また彼女がいじめられるのは、…すっごくイヤですけど。 Athena: But if anybody picks on her again, they’ll pay. ナルホド：（やっぱり、怒ってるか…） Phoenix: (Guess she’s already at Anger Level 1…) ココネ：でも、いいんです。いざとなったら、…わたしが守りますから。 Athena: Don’t worry. I’ll stop the proceedings before I let anything bad happen to her. ナルホド：裁判長。弁護側も異論はありません。 Phoenix: The defense has no objections, Your Honor. バラシマ：それでは、ワタシはここで失礼いたしまショウ。 Tonate: IN THAT CASE, I WILL TAKE MY LEAVE. バラシマ：あ。そうだ。ナルホドさんデシタカ。 Tonate: BUT BEFORE I DO, THERE IS JUST ONE MORE THING. MR. WRIGHT… IS IT? ナルホド：はい？な、なんでしょう。 Phoenix: Me? Yes? バラシマ：爆弾を解体するのがワタシの仕事ならば… Tonate: DISMANTLING BOMBS IS MY JOB. バラシマ：事件を解決するのがアナタの仕事。…せいぜいがんばってクダサイ。 Tonate: DISMANTLING THE CASE IS YOURS. DO YOU THINK YOU CAN HANDLE IT? バラシマ：あなたが、この事件を解体できるか…ミモノデスナ。 Tonate: I LOOK FORWARD TO SEEING YOU TRY. ナルホド：（コイツ…！やっぱり何か隠しているのか？） Phoenix: (Grrr! This guy is hiding something! I just know it!) バラシマ：それではシツレイ。 Tonate: NOW IF YOU WILL EXCUSE ME… サイバンチョ：係官！控え室に行って被告人を呼んでくるように！ Judge: Bailiff! Please go out to the lobby and bring back the defendant! シノブ：……… Woods: ………. ココネ：しのぶ！ Athena: Junie! シノブ：…ココちゃん。 Woods: …Hi, Thena. ナルホド：（うう。森澄さん、もう泣きそうになっているぞ…） Phoenix: (She looks even worse off than before…) ココネ：大丈夫だよ！わたしたちがついてるからね！ Athena: Don’t worry, Junie! We’re here for you! シノブ：うん…。あたし…がんばるから…。 Woods: Thanks, Thena. And I’ll do my best, too… アウチ：あなたは法廷にウラミを持っていた。だから法廷を爆発したのでしょう？ Payne: You blew up the courtroom because you bear resentment against the courts, correct? シノブ：ち、ちがいます。ケホッ。あたしは… Woods: N-No! Of course not… *cough* I… アウチ：なんですか？もしも～し。よく聞こえませんぞお。
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Payne: What’s that you say? I can barely hear you. シノブ：あ…あたしは、何も…この検事さん、怖いです…。 Woods: I… I… haven’t done anything wrong… This prosecutor’s scary… アウチ：異議あり！ Payne: Objection! アウチ：シツレイな。こんなにも優しくいびって差し上げているのに。 Payne: What an impudent little girl. Stop acting innocent and tell the truth! ナルホド：（結局、いびってるんじゃないか！） Phoenix: (This is getting ugly…) アウチ：アナタは法廷を爆発するために、爆弾を再起動して爆発させた！ Payne: You rearmed the bomb because you wanted to blow up the courthouse! Admit it! アウチ：そのために、王泥喜弁護士の控え室に行ったのではないですか？ Payne: That’s why you went to the lobby where Mr. Justice was, isn’t that right?! シノブ：くううう……あううッ！ Woods: Uuugghhh… Ahh! ココネ：ナルホドさん…。あの検事、殴ってもいいですか！ Athena: Mr. Wright… Can I go give that prosecutor a smack?! ナルホド：ま、待って！それは、さすがにマズイよ！ Phoenix: Wh-What?! Of course not! Do we have to review Courtroom Manners 101 again?! ココネ：あの検事は、被告人いびりに加えて、新人いびりの異名まであるんです！ Athena: We can’t let a creep that bullies innocent girls like this off so easily! ナルホド：ココネちゃんも、よっぽどひどくいびられたんだね…。 Phoenix: I haven’t forgotten about how he treated you. ココネ：わ、わたしはどうでもいいんです！をれよりしのぶを助けてください！ Athena: Don’t worry about me, just help Junie! ココネ：あの子の…しのぶのココロ、悲鳴をあげてるんです！ Athena: Her heart’s crying out! ココネ：すごく、すごくおびえてる…。 Athena: She’s so scared… so very scared! ナルホド：（彼女の《特別な耳》には、聞こえているみたいだな） Phoenix: (Looks like Athena’s picking something up with her heightened sense of hearing…) ナルホド：（森澄さんのココロの声が…） Phoenix: (And it sounds like this time, it’s the voice of Ms. Woods’s heart.) アウチ：リモコンスイッチも盗み出して、法廷で押した！そうでしょう！ Payne: Don’t deny it! You stole the remote switch and used in the courtroom, didn’t you?! ココネ：異議あり！ Athena: Objection! ココネ：裁判長！やめさせてください！ Athena: Your Honor, please put a stop to this! ココネ：亜内検事は、必要以上に、被告人に圧力をかけています！ Athena: Mr. Payne is badgering the defendant! サイバンチョ：た、たしかに被告人はおびえているようです。 Judge: Yes, Ms. Woods does seem quite frightened.
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サイバンチョ：亜内検事。あくまでおだやかにお願いしますぞ。 Judge: Mr. Payne, I ask that you behave more like a gentleman. アウチ：この上なく上品、かつ柔和にしておだやかですとも、私のいびりは。 Payne: Ah, but don’t you know, Your Honor? There is no more a gentle man in this world than I. ココネ：そもそも、上品で柔和な人は他人をいびったりしません！ Athena: Ugh, as if a gentleman, or even a “gentle man,” would behave like he does! ココネ：しのぶ、負けないで！そんなネチネチしたおじさんに！ Athena: Don’t let that rude ruffian win! シノブ：う…ココちゃん…。 Woods: Theeena…! *sniffle* アウチ：ゼントルな私をつかまえて、ネチネチとは人聞きが悪い。 Payne: How dare you call a gentleman such as I a “rude ruffian”?! アウチ：私はこう見えて、週末にマナー講座を受講していましてねえ。 Payne: I’ll have you know I attend a manners class every Saturday. アウチ：いわば、週末紳士なのですぞ！ Payne: I’m more than just a mere gentleman – I’m a GENTEEL-man! ココネ：女の子をおびえさせるなんて、紳士として終わっています！ Athena: Not when you’re terrorizing a young lady you’re not! ココネ：終末紳士のまちがいじゃないんですか！ Athena: I’d demand my money back from that manners class if I were you! アウチ：くっ…。 Payne: Urk… ナルホド：（なんだか、趣旨がズレてきたな…） Phoenix: (I should probably be the adult here and stop the two of them, but…) サイバンチョ：亜内検事。そのくらいでもういいでしょう。 Judge: Mr. Payne, that will be enough. アウチ：ええ…検察側の質問は以上です。証言に移りましょう。 Payne: Certainly, Your Honor. No further questions. Let’s move on to the defendant’s testimony. アウチ：爆弾が爆発したときのことを証言していただきたい。 Payne: Ms. Woods, please share with the court what you were doing when the bomb went off. シノブ：…………… Woods: ……….. Nar: 証言開始 Nar: Witness Testimony Nar: ～爆発したときのこと～ Nar: -- When the bomb went off -- シノブ：あのときあたし…ケホッ。傍聴してて…ケホッケホッ。 Woods: Well, that day… *cough* I was watching from the gallery… *cough, cough* シノブ：爆弾が爆発…ケホッ。 Woods: The bomb went off… *cough* シノブ：ケホッ…あたしの上に…ガレキがケホッケホッ。 Woods: *cough* And rubble started falling… It fell on top of me… *cough, cough* ココネ：しのぶ、苦しそう。思い出すのがつらいんだ…。
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Athena: Junie’s clearly in pain, being forced to recall the bombing like this… ココネ：まともにコトバを話すことも、できていません…！ Athena: She can’t even get her words out! ナルホド：（どうする…？そ、そうか…！） Phoenix: (This isn’t going to work, so what now…? Hey, wait a minute!) ナルホド：（コトバを話せないならば、ココロの声を聞くしかない…） Phoenix: (Even if she can’t vocalize what she wants to say, we can listen to what’s inside her heart!) ナルホド：（今こそ、彼女の《チカラ》を借りるときだな） Phoenix: (Yes, now’s the perfect time to use Athena’s power!) ナルホド：ココネちゃん。キミの耳には聞こえているんだろう？ Phoenix: You can hear it, can’t you, Athena? ナルホド：彼女のココロの叫びが。 Phoenix: The cries of Ms. Woods’s heart? ココネ：はい…。聞こえてます。ココロがきしむ音が。 Athena: Yes and they sound incredibly strained. ココネ：怖くて怖くて、今にも、押しつぶされてしまいそう…。 Athena: She’s so scared… I think she could collapse at any second! ナルホド：（ココネちゃんは、特別な能力を持っている） Phoenix: (Athena has a unique ability, you see.) ナルホド：（彼女の《特別な耳》は、証人のココロの声を聞き分ける） Phoenix: (With her finely-tuned sense of hearing, she can hear the words of a witness’s heart.) ナルホド：（コトバには表れない《感情》を、声のトーンから感じ取るんだ） Phoenix: (In essence, she can sense how a person is really feeling from the tone of their voice.) ナルホド：（今は彼女のチカラにかけるしかない！） Phoenix: (Guess it’s all up to Athena and her special ability now!) ナルホド：森澄さんの、ココロの証言を聞いてあげてほしいんだ。 Phoenix: Athena, I want you to use the analytical psychology you studied… ナルホド：キミが学んできた《心理分析》のチカラでね。 Phoenix: …and listen to the testimony of Ms. Woods’s heart. ココネ：…！わかりました。やってみます！ Athena: …Okay, Boss! I’ll give it a go! ココネ：わたしは、こういうときのために、《心理分析》を学んできたんです！ Athena: After all, this is the whole reason I put all that effort into studying analytical psychology! ココネ：…Let’s do this! Athena: Auf geht’s! Let’s do this! ココネ：しのぶの証言と《感情》が見えてきましたね。 Athena: I think I have a good grasp on Junie’s emotional state now. ナルホド：（これが、彼女のチカラか…） Phoenix: (This power of Athena’s is incredible…) ココネ：それに、証言とムジュンしている《おかしな感情》がありました！ Athena: And I’m seeing an unexpected emotion that’s inconsistent with the content of her testimony! ナルホド：えッ！もうわかったの！ Phoenix: What?! Already?!
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ココネ：ほら！ガレキが落ちてきたときに、《喜び》の感情が出ています！ Athena: Look at this! When she says, “It fell on top of me,” the “Happy” marker is reacting! ナルホド：あ！たしかにおかしいね。 Phoenix: Well, look at that. That IS odd! ココネ：このムジュンした感情には、何か理由があるはずです！ Athena: There must be a reason for this contradictory emotion! We just need to do some digging! ナルホド：ここだ！ Phoenix: Got it! ナルホド：（ガレキが降ってきたときに、《喜び》の感情が出ている！） Phoenix: (Widget is registering joy when Ms. Woods recalls the rubble falling on her. ナルホド：（このムジュンした感情には、何か理由があるはずだ！） Phoenix: (There must be a reason for this unexpected emotion!) ナルホド：森澄さん！ Phoenix: Ms. Woods! ナルホド：ガレキが落ちてきたとき、何か《うれしい》ことがあったの？ Phoenix: As the rubble was falling, was there also something that made you feel happy? シノブ：え…！ケホッ。 Woods: What?! *cough* ココネ：ナルホドさん。しのぶのココロに、喜びの感情が広がっていきばす。 Athena: Mr. Wright! The feeling of happiness is spreading throughout Junie’s heart! ココネ：この話を聞いていけば、気持ちを、落ち着かされるかもしれません。 Athena: Keep going on this point, and I bet Junie will start to calm down. ナルホド：（よし！くわしく話を聞いてみよう！） Phoenix: (Great! Let’s hear what she has to say!) シノブ：あの。ケホッ。もう少しで法廷から逃げ出せるってときに… Woods: Um… *cough* Just as I was about to escape the courtroom… the bomb went off. シノブ：爆弾が爆発したんです。あたし、びっくりして…転んじゃって。 Woods: I was so startled… I tripped. シノブ：そこに、ガレキが落ちてきて…！死んじゃう！って、そう思ったの。 Woods: And then rubble started falling on top of me…! I really thought I was done for… シノブ：でも…そのとき…！ Woods: But just then… シノブ：おどろきさんが、あたしを助けてくれたんです…！ Woods: …Apollo came and rescued me! ココネ：オドロキ先輩が？ Athena: Apollo? シノブ：うん。自分の身体で、ガレキを受け止めてくれて…。 Woods: He used his own body to shield me from the rubble… ナルホド：（オドロキくんのケガは、そのときのものだったのか…） Phoenix: (So that’s when he sustained those injuries…) ココネ：しのぶ。どう？ Athena: How do you feel, Junie? ココネ：オドロキ先輩のことを話していたら、勇気が出てきたんじゃない？
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Athena: Did talking about Apollo give you some courage? シノブ：うん。おどろきさんは、赤く燃える太陽のようなヒトだから。 Woods: Yes. Apollo is… just like the sun – strong and bright and warm. シノブ：あたしも、木が光合成するみたいに元気をもらえる気がするの…。 Woods: Just talking about him makes me feel like a leaf undergoing photosynthesis. ココネ：ほら。いつの間にかセキもおさまって来たでしょ？ Athena: And see? Your coughing stopped all of a sudden. シノブ：あ。…ありがとう、ココちゃん。 Woods: Oh! You’re right! Thank you, Thena. ナルホド：どうやら新たな証言を、引き出すことができたみたいだね。 Phoenix: Looks like we were able to draw out some new testimony. ココネ：へへ！ざっとこんなもんですよ！ Athena: Hee hee. Pretty neat, huh? ココネ：でも…まだ消えていないんです。しのぶのココロの《ノイズ》。 Athena: But there’s still some noise left, meaning there must still be some discord in Junie’s heart. ナルホド：え？まだ何か隠されているものがあるってことなのか…。 Phoenix: Hmm… I guess we’ll have to keep going, then. ココネ：新しい情報を入力して、《アップデート》しますから、 Athena: Let me input this new information and update the Mood Matrix, and we’ll be good to go! ココネ：続けて、しのぶのココロの証言を聞いて行きましょう！ Athena: You remember what to do, right? ナルホド：ここだ！｛KANASHIMI｝ Phoenix: Got it! ナルホド：オドロキくんに助けられたとき、《うれしかった》んだよね？ Phoenix: You were happy when Mr. Justice rescued you, weren’t you? シノブ：はい…。すごくうれしかったです。 Woods: Yes… I was really happy. ナルホド：でも、何か《悲しい》こともあったんじゃないかな？ Phoenix: But was there also something you felt sad about at the same time? シノブ：え？ Woods: Sad? ナルホド：だって、森澄さん。 Phoenix: The reason I ask is… ナルホド：助けられたことを話すときに、少しだけ《悲しさ》を感じているよ。 Phoenix: …when you were describing how you were rescued, we sensed a little sadness, too. シノブ：……あ！ Woods: ……Oh! シノブ：それ、きっと《えんザイくん》のことだと思います…。 Woods: I think it’s probably because of Bum Rap Rhiny. ナルホド：《えんザイくん》？（またなんか出て来たな） Phoenix: Bum Rap Rhiny? (Well, what do you know? Something new!) シノブ：はい。あたし… Woods: That’s right. I…
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シノブ：《えんザイくん》のぬいぐるみと一緒に傍聴してたんです。 Woods: I brought my stuffed animal, Bum Rap Rhiny, to watch the trial with me. シノブ：《えんザイくん》は、《ねつゾウくん》の兄弟なんですよ。 Woods: Bum Rap Rhiny and Phony Phanty are brothers. ナルホド：（まさか、はやってるのか？そのぬいぐるみのシリーズ） Phoenix: (Who knew that the legal world could inspire a whole line of merchandise…?) シノブ：あたし、《えんザイくん》と一緒に傍聴してたのに… Woods: I had Bum Rap Rhiny with me while I was watching the trial… シノブ：逃げる途中で、落としてしまったことに気付いたんです…。 Woods: But it wasn’t until Apollo saved me that I realized I’d lost him as I was running away… シノブ：かわいそうな《えんザイくん》…。爆発に巻き込まれてしまったんです。 Woods: My poor Rhiny! A victim of that terrible bomb! シノブ：あ。そうだ！このポスターを見てください！ Woods: Oh, I know! You can see what he looks like in this poster! Image: えん罪やめてください！ Image: No more bum raps! シノブ：えん罪のボクメツ運動のポスター。この子が、えんザイくんです。 Woods: It’s for the campaign to eradicate fake evidence and false charges. ナルホド：ねつゾウくんとも共演してるみたいだな。でも…） Phoenix: (Phony Phanty and Bum Rap Rhiny, huh…) ナルホド：ゾウとサイの兄弟は、ちょっとムリがあるんじゃ…） Phoenix: (Nothing against the campaign, but why an elephant and a rhinoceros…?) ココネ：ナルホドさん。 Athena: Mr. Wright! ココネ：しのぶのココロの《ノイズ》が聞こえなくなりました！ Athena: I don’t sense any discord in Junie’s heart anymore! ナルホド：じゃあ。これで、証言が《完成した》ってことになるのかな。 Phoenix: So I guess that means we managed to draw out all of her testimony. ココネ：はい！新しい情報を入力して、《完成》です！ Athena: That’s right! I’ll just make an update with the new info and we’ll have the whole picture! ココネ：さ！ナルホドさん！新たな証言は役に立ちそうですか？ Athena: So do you think her new testimony will help? ナルホド：ああ。それはもう…ね。 Phoenix: Absolutely. I don’t know what I would’ve done without you, Athena! ナルホド：（爆弾が爆発したとき、《えんザイ》くんが法廷にいた） Phoenix: (So Bum Rap Rhiny was in that courtroom when the bomb went off. ナルホド：（それがわかったことで、あの証拠品の意味が変わる！） Phoenix: (Now that we know that, it changes the meaning of that other piece of evidence!) ナルホド：（つきつけてやるんだ…あの証言に！） Phoenix: (All I have to do is “Present” it… at the right statement!) シノブ：えんザイくんと一緒に傍聴してたら、逃げ遅れてしまって… Woods: I was watching from the gallery with Bum Rap Rhiny. I tried to run, but I was too slow. ナルホド：異議あり！
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Phoenix: Objection! ナルホド：森澄さん…。つらいのに、よくがんばったね。 Phoenix: Ms. Woods, I know this trial has been very hard for you. ナルホド：でも、もう大丈夫。やっぱり、キミは無実だ。 Phoenix: But you can relax now. You are, without a doubt, innocent. サイバンチョ：弁護人！どういうことですか！ Judge: Mr. Wright! What wild assertion are you making now?! ナルホド：混同されていたんですよ。２つのぬいぐるみが…ね。 Phoenix: My “wild assertion” is simply this: the two stuffed animals were mixed up. ナルホド：被告人の指紋が残っていたシッポは、《えんザイくん》のものだった… Phoenix: The tail the defendant’s fingerprints were found on wasn’t that of Phony Phanty. ナルホド：爆弾の入っていた《ねつゾウくん》のものではなかったのです！ Phoenix: It was the tail of her gallery companion, Bum Rap Rhiny! アウチ：異議あり！ Payne: Objection! アウチ：ハッ！何を言っている！ Payne: What?! What nonsense is that?! アウチ：同じぬいぐるみと言ってもまったく別のキャラクターではないですか！ Payne: I concede they’re both stuffed animals, yes, but they’re completely different characters! アウチ：《ゾウ》と《サイ》…弁護士と検事ぐらいちがいますぞ！ Payne: An elephant and a rhino. They’re as distinct as a defense lawyer and a prosecutor! ナルホド：はたしてそうでしょうか？ Phoenix: But are they really so different? ナルホド：弁護士も検事も同じ法を守るものだと思いますが。 Phoenix: Both defense lawyers and prosecutors strive to protect the peace through law. ココネ：《ゾウ》と《サイ》だって、けっこう似てますよね。 Athena: Even elephants and rhinos have some similar characteristics. ココネ：全体的に灰色のところとか！ Athena: They’re both gray, for example! ナルホド：決定的な証拠は、このポスターの中にあります。 Phoenix: Anyway, this poster is all I need to prove my assertion to be true. ナルホド：この部分を見れば、２つが混同された理由は明らかです！ Phoenix: If I may direct the court’s attention here, you’ll clearly see how the two got mixed up! ナルホド：くらえ！ Phoenix: Take that! サイバンチョ：こ！これは！まったく同じ形ではないですか！ Judge: Well! Would you look at that! The two tails are exactly the same! ナルホド：その通りです。 Phoenix: Yes, exactly. ナルホド：２つのキャラクターはまったく別の動物をモチーフにしています。 Phoenix: The two stuffed animals are based on entirely different animals… ナルホド：しかし、モンダイのシッポだけは、まったく同じデザインなのです！ Phoenix: …but the design of their tails is exactly the same!
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アウチ：きゃああああああああああああ！ Payne: Aaaaaaaaaaaaagh! サイバンチョ：静粛に！静粛に！ Judge: Order! Order in the court! サイバンチョ：このシッポが《えんザイくん》のものでる可能性がある以上… Judge: As long as the possibility exists that the tail belongs to Bum Rap Rhiny… サイバンチョ：被告人が爆弾に触ったことを示す決定的な証拠は崩れました。 Judge: …we can no longer consider it to be decisive proof that the defendant handled the bomb. サイバンチョ：このままでは、被告人の罪を問うことはできません。 Judge: As things stand, I consider the charges against the accused unsubstantiated. サイバンチョ：そうですね？亜内検事。 Judge: Wouldn’t you agree, Mr. Payne? アウチ：う…うう。その通りです。 Payne: Oh, um… Y-Yes, of course, Your Honor… ココネ：やったあ！スゴイ！スゴイですッ！大逆転ですよ！ Athena: Ooh, that was great, Mr. Wright! You turned things right around! ナルホド：うん。なんとか、しのいだかな。 Phoenix: Yeah. It’s not over yet, but at least we managed to hold out this long. サイバンチョ：どうやら。本日の審理は、これまでのようですな。 Judge: I believe that brings our proceedings for today to a close. サイバンチョ：亜内検事さらなる調査をお願いします。 Judge: Mr. Payne, I’m afraid you have some serious investigating ahead of you. アウチ：了解しました。 Payne: Yes, Your Honor. サイバンチョ：それでは…本日の審理は、ここまで。 Judge: Very well, let us reconvene tomorrow. サイバンチョ：これにて、閉廷します！ Judge: Court is adjourned! Nar：１２月１７日 午前１１時５６分 地方裁判所 被告人第５控え室 Nar: December 17, 1156 AM District Court – Defendant Lobby No. 5 ココネ：やりましたね。ナルホドさん！ Athena: That was so exciting, Boss! We did it! ココネ：いつもどおり、ギリギリでしたけど。 Athena: True to form, you managed to just barely pull it off at the very last moment! ナルホド：（いつもどおりってどういう意味だよ！） Phoenix: (“True to form”? Gee, I never knew you had such a glowing opinion of me…) シノブ：……ありがとうございます。 Woods: …Thank you for everything you’re doing. ナルホド：森澄さんも、がんばったね。よく耐えてくれたよ。 Phoenix: You did great, Ms. Woods. You really stuck it out. ココネ：しのぶが最後に、勇気を出してくれたおかげで。 Athena: And you got really brave at the end, just when we needed you most, Junie! ココネ：なんとか逆転することができたんだから！
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Athena: Thanks to you, we were able to turn things around! シノブ：勇気をくれたのは、ココちゃんだよ。 Woods: Well, you were the one who gave me that courage, Thena. ココネ：えへへ。ありがとう。 Athena: Really? Heh heh. Thanks. ココネ：ナルホドさん。わたし、少しはお役に立てましたか？ Athena: So, be honest – was I any help at all? ナルホド：もちろん！ Phoenix: Of course! ナルホド：キミのチカラがなかったら、きっと追い詰められていたさ。 Phoenix: Without you, we would’ve never gotten out of that tight spot. ココネ：よかったー！ Athena: That’s good to hear! ココネ：わたし、まだまだ新来ですけど、がんばりますからッ！ Athena: I may still have a lot to learn, but you can bet I’m going to give it my all! ココネ：ナルホドさんの相棒として認めてもらえるように！ Athena: I’ll be so good that, one day, you’ll call me your partner! ナルホド：うん。期待してるよ。 Phoenix: That’s what I like to hear! ナルホド：（人のココロの謎を解くチカラ《心理分析》…か） Phoenix: (Analytical psychology… The ability to solve the riddles of a person’s heart.) ナルホド：（この子のチカラには、まだまだ可能性を感じるな） Phoenix: Athena’s true potential is beginning to really shine through now.) ココネ：あれ？そういえば、オドロキ先輩は？ Athena: Hey, where’s Apollo, anyway? ナルホド：そういえば…。（すっかり忘れてたね） Phoenix: Hmm… Good question… (I almost forgot about him.) ナルホド：まだ控え室にいるんだろうと思っていたんだけど。 Phoenix: I assumed he’d still be here in the lobby. シノブ：あ。もしかしたら、まだ、第４法廷にいるのかも…。 Woods: Oh, I know! Maybe he’s still in Courtroom No. 4… ナルホド：（第４法廷？どうして法廷爆破の現場に？） Phoenix: (Courtroom No. 4? What would he be doing at the scene of the explosion?) シノブ：控え室で休んでるとき、あたし、《えんザイくん》の話をしたんです。 Woods: When I came out to the lobby to rest, I told Apollo about Bum Rap Rhiny.
RESEARCH DATA FROM PERSONA Q: SHADOW OF THE LABYRINTH
「ペルソナ 3」の主人公。月光館学園高等部の２年生で、影時間に出現する謎の塔“タルタ ロス”を探索し人類の影人間化を食い止めるために日夜戦う、“特別課外活動部”のリーダ ー。
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The Persona 3 protagonist: A second-year student at Gekkoukan High School and the leader of SEES, he is investigating Tartarus to save mankind from the Apathy Syndrome. 運命は 志ある者を導き 志なき者を引きずってゆく ―Lucius Annaeus Seneca Fate leads the willing. And drags along the reluctant. -Lucius Annaeus Seneca エリザベス：ようこそ、ベルベットルームへ… Elizabeth: Welcome to the Velvet Room… エリザベス：ここは夢と現実、精神と物質の狭間にある場所… Elizabeth: This place exists between dream and reality, mind and matter. エリザベス：珍しいこともあるものですね。主がいない間に、あなたがいらっしゃるなんて … Elizabeth: How unexpected for you to visit while my master is away… エリザベス：…あら？ Elizabeth: Hm? エリザベス：気のせい…でしょうか。確か以前もこんなやりとりを行ったような… Elizabeth: Is it my imagination, or… Have we had an exchange like this once before…? エリザベス：そう…あれは、ほんの少し前の、台風の夜… Elizabeth: Ah, that’s right… It was on the night of a typhoon not long ago… エリザベス：ある“事件”が起こり、あなたは“ある人”に出会った… Elizabeth: There was a strange incident, where you met a certain someone… エリザベス：そんな思いが、ふたよぎったのですが… Elizabeth: At least, that’s what I seem to recall. But… エリザベス：これは私の夢…でしょうか？それとも… Elizabeth: Could that have been a dream I had? Or… エリザベス：……。 Elizabeth: …… エリザベスの言葉に、脳裏をよぎる声がある… >Elizabeth’s words bring back memories of a certain person’s words… 脳裏に響く声：いつか、また。…必ず。 Memory of a Voice: We’ll meet again… some day. ＞……。 >…… ＞この声は… > That voice… ＞……。 >…… エリザベス：折り入って、あなたにお聞きしたいことがございます。
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Elizabeth: I wish to ask you something. エリザベス：あの台風の夜に起こった“ある事件”… Elizabeth: What transpired on the night of that typhoon… エリザベス：アナタが出会った“ある人”のお名前に心当たりはおありでしょうか？ Elizabeth: Do you happen to remember the name of the person you met? エリザベス：そうですか、やはり… Elizabeth: Ahh… As I thought. エリザベス：これは一体どういうことなのでしょう。あなたは台風の間じゅう、体調を崩し て伏せっていらしたと聞いておりますが… Elizabeth: What could this mean? I had heard that you were bedridden during the typhoon… エリザベス：“あの事件”は、まさにその台風の夜に起こり、その時あなたは、ご友人とタル タロスにいらした… Elizabeth: Yet this occurred on that same night, at a time when you were with your friends in Tartarus. Opt： ―聞かせてほしい “Tell me about it.” ―詳しく知りたい “Could you tell me more?” エリザベス：はい、では“あの事件”について、少々語ることにいたしましょう。 Elizabeth: Very well. Allow me to speak a bit on the subject of that incident. エリザベス：あれは今からほんの数日前の台風の夜のこと… Elizabeth: It happened on the night of a typhoon merely a few days ago… エリザベス：主たる者の不在が、このベルベットルームの存在を不確かなものにしておりま した… Elizabeth: The absence of this room’s master had made the existence of our Velvet Room somewhat uncertain… ＞エリザベスは、長い長い物語始めた… >Elizabeth begins to tell her long, long story… ＞２００９年９月２０日、タルタロス エントランス… >September 20, 2009. The entrance to Tartarus… ＞＠の仲間たちが、突入の準備をしている… >Your companions are getting ready to enter… 伊織順平：中止ってなると、やっぱ惜しいじょなー。大いなる青春の１ページだしさ。 Junpei: It’s too bad it got canceled in the end. It would’ve really been something to look back on. ＞伊織順平…＠のクラスメイトで、仲間内のムードメーカー。 >Junpei Iori… @’s classmate, and a very cheerful companion. 岳羽ゆかり：まーまー、いいじゃん。文化祭なんて来年もあるんだし？ Yukari: C’mon, it’s not that bad. There’s always next year. ＞岳羽ゆかり…＠のクラスメイト。勝気な性格で、弓道部所属。 >Yukari Takeba… @’s classmate. She is a strong-willed member of the archery team.
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山岸風花：残念だけど、この台風じゃ仕方ないよ。怪我でもしたら大変だもん。 Fuuka: It was too bad, but the typhoon left no other choice. It would’ve been awful if someone got hurt. ＞山岸風花…＠と同じ高校２年生。バックアップ専門の能力を持つ。 >Fuuka Yamagishi… A second-year like @. Her specialties lie in providing backup from afar. 桐条美鶴：来場者の安全を確保できない以上、中止にせざるを得なかった。生徒会長して、 責任は感じている… Mitsuru: Since we can’t assure the students’ safety, we had to cancel. I feel bad as student council president… ＞桐条美鶴…高校３年生で、＠の通う月光館学園の生徒会長。 >Mitsuru Kirijo… A third-year student at @’s school, and the student council president. 真田明彦：誰も美鶴を責めていないさ。いくら俺たちでも、天候には勝てないってことだ。 Akihiko: No one’s blaming you, Mitsuru. It just shows that even we can’t fight Mother Nature. ＞真田明彦…高校３年生で、ボクシング部の主将。校内の女子生徒に人気だが… >Akihiko Sanada… A third-year student and captain of the boxing team. He’s popular with the girls, but… 荒垣真次郎：ん…あいつは？姿が見えねえが… Shinjiro: Huh…? Where’s that guy? I don’t see him around. ＞荒垣真次郎…高校３年生だが、休学中。真田の幼なじみ。 >Shinjiro Aragaki… A third-year at the school, but he has currently taken leave. Akihiko’s childhood friend. アイギス：リーダーでしたら、あちらの陰に。新しいペルソナを召喚してくる、とのことで あります。 Aigis: If you mean our leader, then he is over there. He mentioned going to acquire a new Persona. ＞アイギス…ペルソナ能力を与えられた人型兵器。＠のクラスに編入したばかり。 >Aigis… A humanoid robot given the power to use a Persona. She has just transferred into @’s class. 天田乾：リーダーだけに見える、ペルソナ召喚所ってやつですね。 Ken: At that Persona-summoning place only he can see, right? ＞天田乾…ペルソナ能力を持つ小学５年生。母親を事故で失っている。 > Ken Amada… A fifth-grader with the power to summon a Persona. He lost his mother in an accident. 伊織順平：いいよなー、あいつは。ペルソナ付け替えられるとか反則じゃんかー。 Junpei: Man, that lucky skunk. Getting to change his Persona is cheating. 天田乾：新しいペルソナって、今度はどんなのなんでしょうね。 Ken: I wonder what his new Persona will be like this time… コロマル：ワン！ Koromaru: Arf! ＞コロマル…ペルソナ能力を持つ柴犬。飼主は事故で亡くなっている。 >Koromaru… A Shiba Inu who also has the power to summon a persona. His owner was killed in an accident. 伊織順平：コロマルが“ポインちゃん希望～！”だってよ。
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Junpei: Koromaru says, “I want it to have big bazongas!” 岳羽ゆかり：言うわけないでしょうバカなの？ Yukari: Like he’d say that. Are you stupid or something? 伊織順平：おお、いつにも増して切れ味が… Junpei: Yikes, she sounds even more pissed than usual… アイギス：コロマルさんは、２日間も寝込んでいたリーダーが心配なようであります。 Aigis: It seems Koromaru-san is worried about our leader. He was confined to his bed for two days, after all. 伊織順平：おー、そっかそっか。けどあいつ、熱も下がったっぽいから、ヘーキじゃねー か？ Junpei: Ohh, I see. But he’s probably fine. It seemed like his fever was going down. 伊織順平：この台風じゃどこもいけねーし、どーせなら台風去るまで寝てりゃいいのにさ。 Junpei: Not like we can go anywhere in this typhoon anyway, so he coulda just stayed in bed ‘til it passed. 岳羽ゆかり：リーダーが“何か気になる…”なんて言うからタルタロスに来てみたけど、別に 何も無いしね… Yukari: He said something was bothering him, so we came to Tartarus… but there’s nothing really here either… 岳羽ゆかり：なっ、なに！？ Yukari: Wh-What’s that!? 桐条美鶴：これは…鐘の音…？ Mitsuru: Is that… a bell…? 真田明彦：…やんだな。 Akihiko: …It stopped. 桐条美鶴：何だったんだ、今のは…ともかく、全員、周囲を警戒しろ！ Mitsuru: What was that…? Whatever it was, stay alert, just in case! 山岸風花：ペルソナで周囲を探ってみま… Fuuka: I’ll have a look around with my Persona… 山岸風花：…きゃっ！？ Fuuka: Aah! 真田明彦：どうした、山岸！ Akihiko: What’s wrong, Fuuka!? 山岸風花：足元に蜘蛛がいて… Fuuka: There was a spider by my feet… 山岸風花：あれ？いない… Fuuka: Huh…? Where’d it go? 真田明彦：蜘蛛…？ Akihiko: A spider…? 山岸風花：あ…すみません、気のせいだったみたいです。 Fuuka: Oh, I’m sorry. I guess it was just my imagination.
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山岸風花：すぐに、ペルソナで周囲を探って… Fuuka: I’ll use my Persona to check-- 山岸風花：………えっ？ Fuuka: Huh? ＞一方その頃、ベルベットルーム… >Meanwhile, in the Velvet Room… ＞主のイゴールの姿は無く、エリザベスが一人で座っている… > Igor, master of the room, is nowhere to be seen. Elizabeth is sitting there, alone… エリザベス：ようこそベルベットルームへ… Elizabeth: Welcome to the Velvet Room… エリザベス：ココは夢と現実、精神と物質の狭間にある場所… Elizabeth: This place exists between dream and reality, mind and matter... エリザベス：珍しいこともあるものですね。主がいない間に、あなたがいらっしゃるなんて … Elizabeth: How unexpected for you to visit while my master is away… Opt： ―イゴールは？ “Where’s Igor? ―一人で留守番？ “Are you house-sitting alone?” エリザベス：あいにく不在でございます。 Elizabeth: Unfortunately, he is absent at the moment. エリザベス：ペルソナの合体でしたら、私にも多少は心得がございますのでお申し付けくだ さいませ。 Elizabeth: If it’s fusion you require, then I have some knowledge of the process. Feel free to ask me to perform them. エリザベス：ちなみに本日は、“レギオン”しか召喚できませんので、こちらで宜しいです ね？ Elizabeth: By the by, only a Legion can be summoned today. That will be all right with you, won’t it? エリザベス：“レギオン”は“軍団”の意… Elizabeth: A “Legion” means an army… エリザベス：複数の顔は異なる表情でありつついずれも豊かな苦悶を迸らせており、見てい て全く飽きることがありません。 Elizabeth: Each face has a different expression. They all bear such rich anguish that I never tire of watching them. エリザベス：このエリザベス一押しでございます。では早速、合体の儀を… Elizabeth: I highly recommend one to you. Well then, let’s proceed with the fusion ritual without delay… 青い服の男性：姉上…嘘はいけませんよ。姉上でしたら、他のペルソナも召喚できるではあ りませんか。 Man in blue: Elizabeth… You mustn’t lie. You are capable of fusing other Personas as well.
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＞いくつかの扉のうちの１つから、若い男性が現れた… > A young man steps out of one of the many doors in the room… エリザベス：あら、テオ…ごきげにょう。 Elizabeth: Ah, Theo… How do you do? エリザベス：私の不肖の弟、テオドアでございます。長ったらしいので、“テオ”とでもお呼 びつけください。 Elizabeth: This is my incompetent younger brother, Theodore. I realize that’s long, so simply call him “Theo.” テオドア：姉上のお名前より短いですが… Theodore: But my name is shorter than yours… テオドア：テオドアと申します。いつも姉エリザベスがお世話になっております。 Theodore: My name is Theodore. Thank you for bearing with my sister Elizabeth all this time. テオドア：世間知らずなところがある姉ですのでご迷惑をおかけしていると思いますが、ど うか宜しくお願いいたします。 Theodore: I am sure her naivete must cause you difficulty at times, but I hope that you can work well with her. テオドア：ただいま主が席を外しておりますので、念のため私も、こちらにいさせていただ きます。 Theodore: Since our master has stepped away for the moment, I’m remaining here alongside her as a precaution. Opt: ―念のため？ “A precaution?” ―何かあるのか？ “Is something wrong?” テオドア：主が不在のベルベットルームは、この部屋の存在自体が、少しばかり不安定にな るのです。 Theodore: When the Velvet Room is without its master, the room’s existence itself becomes a bit unstable. テオドア：そして、外の世界は嵐… Theodore: Moreover, there is a storm raging in the outside world right now… Opt: ―台風のこと？ “The typhoon, right?” ―何か関係が？ “Is there a connection?” エリザベス：嵐は、揺さぶるのです… Elizabeth: Storms shake things up. エリザベス：体だけでなく、その心も…決心や葛藤、隠してきた何かも… Elizabeth: Not only the body, but the heart, too. One’s resolve, one’s internal strife, one’s hidden thoughts… エリザベス：嵐の中では、みな眼を閉じる。すると、内なる世界が侵食してくる…
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Elizabeth: Everyone closes their eyes during a storm, for that is when the world within begins to encroach… エリザベス：背けてきた目で、隠してきた何かと、対面せざるを得なくなる… Elizabeth: One will have no choice but to face what has gone hidden while their eyes were averted. エリザベス：運命、そして“時”をも揺さぶる嵐というものが、あるものなのです。 Elizabeth: There are storms that can shake up fate, and even time itself. テオドア：ともかく、私はここにいさせてくだ… Theodore: In any case, if you can please allow me to-- テオドア：警報！？ Theodore: An alarm…!? テオドア：こ、これは一体… Theodore: Wh-What on earth…? テオドア：え？ Theodore: Hm? エリザベス：まぁ… Elizabeth: My… 岳羽ゆかり：えええっ？ Yukari: Huh!? 岳羽ゆかり：誰？え、何？青いし！ここ、エレベーター！？ Yukari: Who are they? What’s going on here? It’s so blue! Is this an elevator? 桐条美鶴：な、なんだここは… Mitsuru: What is this place? テオドア：どういうことでしょう… Theodore: What could this mean…? エリザベス：密室に、招かれざる客…すなわち、この中に犯人がいる！ Elizabeth: Uninvited guests in a private chamber… That can only mean that the culprit is among us! 伊織順平：は、犯人！？ Junpei: Eh!? C-Culprit!? エリザベス：冗談です。 Elizabeth: Merely my small joke. エリザベス：ともあれ、これも何かの“縁”…そして始まり…なのでしょう。 Elizabeth: That aside, this is a facet of fate as well… and perhaps a beginning. エリザベス：私はエリザベス、そして弟のテオドア。共にこの“ベルベットルーム”の住人で ございます。 Elizabeth: I am Elizabeth, and this is my younger brother Theodore. We are residents of this Velvet Room. 岳羽ゆかり：ベルベットルーム…あ、もしかしてリーダーペルソナを呼び出したりするって いう…？ Yukari: “Velvet Room”… Oh, you mean where our leader goes for Personas?
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エリザベス：はい。私共はここで、お客人のペルソナ召喚のお手伝いをさせていただいてお ります。 Elizabeth: Yes. We provide aid to our guests by fusing Personas here. 山岸風花：ほ、ほんとだったんだ…！ Fuuka: So… So it was true…! 真田明彦：で、なぜ我々をここに？ Akihiko: So why did you call us here? テオドア：それは…私どもにも分かりかねます。 Theodore: As to that… Even we don’t know. エリザベス：平たく申し上げますと、こっちのセリフでございます。 Elizabeth: Bluntly speaking, that was our question. エリザベス：ここに立ち入れることができるのは、何かの“契約”をなされた方か、もしくは … Elizabeth: Those who enter here have formed a contract of some kind, or… ＞動き続けていたベルベットルームが、きしんで止まった… >The Velvet Room suddenly shrieks and comes to a halt… 伊織順平：と、止まった…？ Junpei: It… It stopped…? 伊織順平：なんかさ、ジェットコースター思い出すよな… Junpei: Heh, it reminds me of a rollercoaster… 伊織順平：ずっと登ってたのが、急に止まって… Junpei: The way it keeps climbing until it stops all of a sudden… 岳羽ゆかり：や、やめてよ！それって、落ちるってこ…と… Yukari: Sh-Shut up! If that were true, it would drop… 山岸風花：きゃあああっ！ Fuuka: Aaaaaah! アイギス：下方に自由落下の速度で移動中であります。 Aigis: We are currently descending in an uncontrolled freefall. エリザベス：…落ちてますね。 Elizabeth: …We’re indeed falling. 天田乾：これ、ぶつかるんじゃ…！ Ken: Are we going to crash…!? 岳羽ゆかり：ど、どこにっ！？ Yukari: Into what!? 天田乾：どこって、ええと…下ですッ！！ Ken: Um, uh… I don’t know, the bottom? CUTSCENE START ？？？：たこ焼き、ただいま焼き立てです！ ???: Come on over, we’ve got a fresh batch of takoyaki! ？？？：音楽室でライブやります！よろしく！
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???: [Unintelligible] 桐条美鶴：なんだ…これは？ Mitsuru: Where are we? CUTSCENE END ＞見たこともない学校だ… >You’ve never seen this school before… ＞どうやら、この学校では文化祭が行われているようだ… >It looks as though this school is having a Culture Festival… エリザベス：文化祭…それは、学徒が年に一度執り行う、興奮と狂乱の祭事…！ Elizabeth: A Culture Festival… The charged ceremony of excitement which students hold once every year…! エリザベス：およそ商売には成りえない水準お料理、手作りゆえに温かみあふれるアトラク ション…！ Elizabeth: Charmingly amateur delicacies, attractions bursting with that handmade warmth…! エリザベス：そしてそのフィナーレには、業火の回りを踊り狂うとか…！ Elizabeth: And for the finale, I’ve heard that students dance like madmen around an infernal flame…! テオドア：なんと…そのような祭事が…！？素晴らしい瞬間に私たちは今、立ち会っている のですね… Theodore: Ah, it’s that sort of ceremony!? Then we are being treated to something wonderful right now… 岳羽ゆかり：えーと、ッッコむべき…？ Yukari: Uhh, should I bother explaining to them…? 伊織順平：まずもって、このいかにもアヤシイ文化祭を楽しもうとしてるっつーのが驚きだ よ… Junpei: I’m more surprised that they’re so gung-ho to sign up for this obviously weird Culture Festival… 桐条美鶴：いま一度聞くが、あなたがたが我々をここに連れてきた…というわけではないん だな？ Mitsuru: Just to be absolutely certain, you did not bring us here… correct? エリザベス：ええ、もちろんでございます。 Elizabeth: Yes, of course. エリザベス：この場所に心当たりもございませんし、お客人ではないあなたがたとは、お会 いするつもりもございませんでしたから。 Elizabeth: We have no idea what this place is, nor did we intend to see you all, since you are not our guests. テオドア：姉上…見てください。あの店舗の看板を… Theodore: Elizabeth… take a look at that shop’s sign. テオドア：“綿飴”…なんと、綿の、飴ですよ！一体どのように組成変化をさせているのでし ょう！？
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Theodore: “Cotton candy”… It’s candy made of cotton! What manufacturing trickery was employed to accomplish this!? 伊織順平：もうそのターン終わったよ！ Junpei: Enough of these jokes already! エリザベス：ともあれ…私どもの意思ではなく、ベルベットルームこそが、あなたがたをこ こへいざなった… Elizabeth: In any case… It was not by our will, but by the Velvet Room’s that you were all invited here… エリザベス：ベルベットルームは、お客様の定めと不可分お部屋。 Elizabeth: The Velvet Room is inseparable from its guests’ fate. エリザベス：そこで全く無意味なことは起こらない… Elizabeth: Nothing meaningless happens there. 桐条美鶴：…我々がここに来たのは必然だと？ Mitsuru: …Are you saying that our arrival here was inevitable? エリザベス：運命…と言ってもいいかもしれません。 Elizabeth: One could even say that it was destiny… 天田乾：運命…ですか… Ken: Destiny, huh… 天田乾：この場所に、何があるっていうんでしょう… Ken: What could we need to be here for? アイギス：ここは、いっちょ偵察に行くであります。 Aigis: I suggest that we go scouting. コロマル：ワフッ！ Koromaru: Woof! 桐条美鶴：そ、そうだな…よし、みんなで手分けして様子を探るぞ。 Mitsuru: Y-Yes… All right, let’s all split up and search the area. エリザベス：＠様は私と。ベルベットルームの様子を確認いたしましょう。 Elizabeth: Would you come with me, @? We should inspect the Velvet Room. Opt: ―分かった “All right.” ―偵察に行きたい “I want to go scouting.” テオドア：では私は、別の場所を見て参ります。 Theodore: Then I will go look elsewhere. エリザベス：では皆様、後ほどまたここで合流しましょう。 Elizabeth: Well then, shall we all meet back here later? エリザベス：くれぐれも、お気をつけて… Elizabeth: Please make sure to be careful… ＞ベルベットルーム… > The Velvet Room…
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＞中の様子が変わっている… >The interior has changed drastically… エリザベス：これは… Elizabeth: My… エリザベス：エレベーターとは異なり、このベルベットルームは“止まって”いるよう… Elizabeth: Contrary to an elevator’s purpose, it seems the Velvet Room is now stationary. エリザベス：こんなことは、初めてでございます… Elizabeth: This is truly without precedent… エリザベス：それに、この 2 枚の“扉”は何なのでしょう… Elizabeth: And what do you think the purpose of those two doors could possibly be…? エリザベス：２枚の扉には、“４つの鍵”が掛かっております。 Elizabeth: There are four locks sealing them. エリザベス：腕力には多少自信がありますのに、ビクともいたしません… Elizabeth: Confident though I am in my physical strength, even I cannot budge them. エリザベス：……。 Elizabeth: …… エリザベス：そろそろ、皆様もお戻りになる頃かと。先ほどの場所に戻りましょう。 Elizabeth: I believe the time has nearly come for everyone to return. Let us go back to that spot from earlier. ＞どこかの学校、廊下… > In the unknown school’s hallway… ＞偵察に行った仲間たちが戻ってきている… >The others have returned from scouting the area… 伊織順平：ここ、ヘンだぜ？誰に話しかけても、話が通じねーっつか質問に答えてくれねー んだよ。 Junpei: There’s something weird about this place. No one I talk to listens to me, or answers any of my questions. 岳羽ゆかり：“ここ、どこですか？”って聞いたら、“やそがみこうこう”って言うけど… Yukari: I ask ‘em, “Where is this?” and they say “Yasogami High”… 岳羽ゆかり：“それはどこにあるの？”って聞いても“やそがみこうこうの文化祭、楽しい”し か言わなくてさ。 Yukari: But when I ask, “And where is that?” all they say is, “This Culture Festival is so much fun!” コロマル：ワン！ Koromaru: Woof! アイギス：コロマルさんについて、何かを言う生徒は存在しませんでした。 Aigis: I encountered no students who acknowledged Koromaru-san’s presence. 岳羽ゆかり：普通、言うよね…文化祭に犬が来てたら。 Weird. Normally, you’d expect someone to speak up about a dog hanging around a Culture Festival… ＞仲間たちは、みんな不安げに顔を見回している… >Your companions look around the place uneasily…
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桐条美鶴：学校の外は誰か確認したか？ Mitsuru: Has anyone checked outside the school? 荒垣真次郎：したんだが…出れねえみてえだな。 Shinjiro: I did… Looks like we can’t get out. 桐条美鶴：出られない…？ Mitsuru: Can’t get out? 荒垣真次郎：校門はあるんだが…一方踏み出すと、中に戻ってる。 Shinjiro: There’s a school gate, but you take one step past it and you’re back inside. 山岸風花：…どういう意味ですか？ Fuuka: What do you mean…? 荒垣真次郎：そのままの意味だ…出たと思ったら、戻ってる。 Shinjiro: Just what I said. As soon as I thought I’d gotten out, I found myself back inside. 荒垣真次郎：要は、出れねえ。 Shinjiro: Basically, we can’t leave. 荒垣真次郎：門だけじゃねえ、フェンスをよじ登っても同じだ。 Shinjiro: It’s not just the gate, either. Same thing happened when I climbed the fence. 山岸風花：えっと、じゃあ、来た方法で… Fuuka: Um… Then what if we try going back the way we came here…? エリザベス：ベルベットルームは、最早エレベーターとしての機能を停止しております。 Elizabeth: The Velvet Room no longer functions as an elevator. エリザベス：不可思議な“２枚の扉”がありましたが頑丈な鍵が“４つ”も掛かっており、開け ることができません。 Elizabeth: There were two mysterious doors, but there are four sturdy locks on them which cannot be opened. 伊織順平：えーと… Junpei: Uhh… 岳羽ゆかり：ひょっとして… Yukari: Are you saying…? エリザベス：帰れません。 Elizabeth: We cannot go back. 岳羽ゆかり：うっ… Yukari: Ohh… エリザベス：帰れません。 Elizabeth: We cannot go back. 伊織順平：…いや、いやいやいや！やべーっしょ！これやべーっしょ！？何この不思議体 験、勘弁なんですけど！ Junpei: …No no, no no no! This is really bad news! It’s just one weird thing after another! Can’t I catch a break!? 伊織順平：オレここにずっといるとか無理っスよ？チドリンの病室にお見舞い行かないと！ チドリン、オレに来てほしいって…
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Junpei: I can’t stay here forever! I gotta go see Chidorita in the hospital! She said she wanted me to come visit… 岳羽ゆかり：うっさいな…あ、携帯は！？ Yukari: Will you shut up…? Hey, what about our cell phones!? ＞ゆかりの言葉に、仲間たちは慌てて携帯電話を取り出した… >Everyone quickly takes out their cell phones… 岳羽ゆかり：…圏外？ Yukari: …No service? 伊織順平：……だな。通話もメールも無理ってことか。 Junpei: Nope. Which means we can’t make any calls or check our messages. 天田乾：GPS も使い物にならないみたいです。 Ken: GPS isn’t working either. 真田明彦：じーぴー…？ Akihiko: G…P…? 真田明彦：…そ、そうか、参ったな。 Akihiko: I-I see. Yeah, that’s a problem. 桐条美鶴：このまま…ここを出られない…という可能性も…？ Mitsuru: Is it possible… that we might never be able to leave here…? 桐条美鶴：……。 Mitsuru: …… エリザベス：ベルベットルームはお客人にとって無意味なことが起こらない場所。 Elizabeth: The Velvet Room is a place where nothing meaningless happens for our guests. エリザベス：そのベルベットルームが、あなたがたをここへといざなった… Elizabeth: And it was the Velvet Room which brought you all here… エリザベス：つまりあなたがたは、ここで“為すべきこと”がある… Elizabeth: This indicates that there is something which must be done here. 桐条美鶴：為すべき…こと？ Mitsuru: Something that must be done…? エリザベス：あなたがたが為すべきことを為すまで、おそらくはこのまま… Elizabeth: Until you accomplish whatever it is, you’ll most likely be trapped here… エリザベス：何を為すべきかは、ご自分でお確かめくださいますようお願いします。 Elizabeth: As for what that might be, I suggest that you ascertain it for yourself. Opt: ―冷たいな “That’s pretty cold.” ―協力してくれ “Help us out.” エリザベス：このベルベットルームのお客人は、あなた… Elizabeth: You are the Velvet Room’s guest… エリザベス：ですからこの状況は、あなたの運命に紐づいているのです。 Elizabeth: Thus, this situation is tied to your fate.
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エリザベス：私もテオも、変わらず“手助け”はさせていただきますが。 Elizabeth: Theo and I will continue to lend you our assistance. エリザベス：…“手助け”は。 Elizabeth: …But nothing more. ＞“手助け”以上をしてくれる気はないようだ… >It looks as though she doesn’t plan to do more than assist you… 伊織順平：分かった！中止になったオレらの学校の代わりにこの文化祭を楽しめ！的な！？ Junpei: I got it! The Culture Festival was canceled at our school, so we’re supposed to enjoy this one! Right!? アイギス：さすが、“順応力”と“平常心”の順平さんであります。 Aigis: Impressive. No wonder your name shares the kanji with the words “adaptability” and “self- assurance.” 伊織順平：そんな名前の由来じゃないよ！？ Junpei: That’s not where my name comes from! 山岸風花：楽しむって言っても…気のせいか、シャドウの反応を感じる場所があるんですが … Fuuka: But how would we enjoy it? It might just be my imagination, but I’m sensing Shadows somewhere… テオドア：当然、いると思いますよ。 Theodore: That seems natural, I believe. 山岸風花：ええ！？ Fuuka: Huh…? テオドア：ここは、現実とは違う場所…時も場所も定かではない、いえ、意味を持たないと 言う方が正しいでしょう。 Theodore: This is not reality. Time and space are not fixed… It might be more correct to say they hold no meaning. テオドア：おそらくは、ベルベットルームよりも、もっと“深い”場所に存在している… Theodore: It most likely exists someplace much “deeper” than the Velvet Room… 岳羽ゆかり：えーっと…つまり？ Yukari: Uhh… And that means…? エリザベス：タルタロスのようなものです。 Elizabeth: It’s something like Tartarus. 伊織順平：ゲッ、マジか… Junpei: Yikes, seriously…? 真田明彦：そんな場所で、俺たちにはやるべきことがあると言ったな。 Akihiko: So we’re in a place like that, and you said before we have something to accomplish here. 真田明彦：それなら、答えはひとつだ。 Akihiko: So that can mean only one thing…! 桐条美鶴：明彦！戦いを面白がるのは悪い癖だ。 Mitsuru: Akihiko! It’s a bad habit of yours to be so excited by the prospect of fighting. 真田明彦：なら、他に方法が？
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Akihiko: Well, is there some other way? 真田明彦：目下のところ、俺たちはこの学校から出られず、携帯も使えず、助けを求めるこ ともできない。 Akihiko: For the moment, we can’t leave the school, we can’t use our phones, and we can’t call for help. 真田明彦：そして、シャドウがいる場所がある…そこを探る以外に、手はあるのか？ Akihiko: On top of that, there are Shadows around somewhere. Is there any other way to handle the situation? 桐条美鶴：……。 Mitsuru: …… 桐条美鶴：そうだな…今のところは…それしかない。 Mitsuru: You’re right… For now, that is all we can do. 真田明彦：それしかないだろうな！ Akihiko: That’s all we can do! 桐条美鶴：はしゃぐな、全く…本来なら、こんなことをしている場合ではないんだぞ。 Mitsuru: Don’t get excited. Honestly… Now normally wouldn’t be the time for us to stick our necks out. 真田明彦：“敵”…いると思うか？ Akihiko: You think there’ll be some good enemies here? 荒垣真次郎：さーな。 Shinjiro: Who knows… 桐条美鶴：山岸。シャドウの反応を感じたのはどこだ？ Mitsuru: Yamagishi. Where did you sense the Shadow reading from? 山岸風花：それが…この階なんです。 Fuuka: Hmm… It’s coming from this floor. 天田乾：ええっ…すぐそこってことですか？ Ken: What…!? You mean it’s nearby? 桐条美鶴：よし、行くとしよう Mitsuru: All right, let’s head there. 桐条美鶴：…＠＠。いつもどおり、君が現場リーダーだ。 Mitsuru: @@, you’re our field leader, as always. 桐条美鶴：何が起きるかわからない。細心の注意を払ってくれ。 Mitsuru: There’s no knowing what will happen. Make sure you proceed with extreme caution. Opt: ―分かった “I understand.” ―みんな、行くぞ！ “Everyone, let’s go!” ―面倒だ… “This is a pain…” 桐条美鶴：フフ、君が冷静で助かるよ。では頼んだぞ。 Mitsuru: Ha… It helps that you’re so calm. Well then, I’ll be counting on you.
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エリザベス：では私とテオはベルベットルームの調査をさせていただきます。 Elizabeth: Then Theo and I will investigate the Velvet Room. エリザベス：お気をつけていってらっしゃいませ。 Elizabeth: Please be careful on your way. 「不思議の国のアナタ」 [You in Wonderland] ＞どこかの学校、廊下… >In the hallway of the mysterious school… ＞風花がシャドウの気配を感じるという出し物の前までやってきた。 >Everyone has gathered in front of the attraction where Fuuka sensed the Shadows. 山岸風花：さっきこのあたりから感じて…多分、この奥だと思います。 Fuuka: I sensed it around here earlier… I think it’s coming from inside. 岳羽ゆかり：“不思議の国のアナタ”…だって。 Yukari: “You in Wonderland”, huh…? 山岸風花：“アナタも手軽にアリス体験！”…って、チラシに書いてあるから、体験型の出し 物みたいだね。 Fuuka: The flier says, “Now you can walk in Alice’s shoes!” It must be an interactive display. 伊織順平：アリス体験したいと思ったことねーけどなー。 Junpei: That’s okay. I never wanted to walk in Alice’s shoes. 山岸風花：えっ、女の子の夢だよ！？ Fuuka: Huh!? But it’s every girl’s dream! 岳羽ゆかり：私、女じゃなかったわ… Yukari: Guess I wasn’t a girl… 桐条美鶴：よし…無駄な挑戦は避けたいが、今はここしか脱出のヒントがなさそうだ。 Mitsuru: All right… We should try to avoid needless combat, but this may be our only clue to a way out. 桐条美鶴：慎重に進んでくれ、＠＠。 Mitsuru: Proceed with caution, @@ 山岸風花：では私は、ここからバックアップを… Fuuka: Okay, I’ll back you up from here and… 謎の声：待て。その中は危険だ。 Mysterious Voice: Wait. It’s dangerous in there. 山岸風花：ひゃっ！？ Fuuka: Ah! ？？？：入っちゃダメ…その中、怖いのがいるよ… ???: Don’t go inside… There are monsters in there… 桐条美鶴：君らは、一体…？ Mitsuru: Who are you two…? 見知らぬ少年：私は善、彼女は玲。そう呼んでる。 Collared boy: I am Zen, and she is Rei. That’s what we call each other.
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善：君達は？どこから来た？ Zen: And who are you? Where did you come from? 伊織順平：話、通じる！ Junpei: They’re actually talking to us! 山岸風花：どこからって、えっと…巌戸台は知ってますか？ Fuuka: Where…? Um… Do you know Iwatodai? 玲：いわ、と…？ Rei: Iwato…? 岳羽ゆかり：えーと…そもそもここってどこですか？ Yukari: Umm… First things first, where is this place? 善：…？ここはここだ。 Zen: Hm? It is what it is. 伊織順平：なんだっけ…“やそがみこうこう”とかって… Junpei: What was it that we heard? Something about “Yasogami High”…? 玲：やそがみ…こうこう… Rei: Yasogami… High… 玲：…です。 Rei: …Yes. 岳羽ゆかり：あ、やっぱそうなんだ。あなたたち、この学校の生徒ですよね？制服が同じだ し。 Yukari: Oh, so that is what this place is called. You’re students here, right? You’re wearing the same uniforms. 玲：うん、この学校の生徒…です。 Rei: Mmhm, we’re… students at this school. 岳羽ゆかり：ここって、どこなんですか？ Yukari: Okay, so where is it? 岳羽ゆかり：や、そもそも何なんですか？シャドウ出るんですよね？シャドウには襲われて ないの？ Yukari: I mean, what’s with this place? There are Shadows here, right? Have you guys ever been attacked by any? 玲：…しゃどうって…なんですか？ Rei: Um… What are Sh-Shadows? アイギス：＠さん…わたし、何か…感じます。あの方…玲さんに… Aigis: @-san… I… sense something from here… From Rei-san… アイギス：わたし、玲さんをもっと知りたい… Aigis: I want to learn more about Rei-san… アイギス：でも、どうして…？ Aigis: But… why…? 岳羽ゆかり：ええと…出口は知ってる？ここから出たいんだけど… Yukari: Let’s see here… Do you know where the exit is? We want to leave this place…
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玲：“出る”…？ Rei: “Leave”…? 岳羽ゆかり：うん、帰りたいんだ。 Yukari: Yeah, we want to go back. 玲：ここから？帰れるの？ Rei: You can… go back from here? 桐条美鶴：どうあっても帰らなければならない。 Mitsuru: It is very important that we return. 玲：…わたしも、帰る。 Rei: … I want to go back too. 善：玲？ Zen: Rei? 玲：わたしも、帰る！ Rei: I want to go back too! 善：帰るって、どこへ？ Zen: Go back where, though…? 玲：うーん、どこへ？ Rei: Hmm… Where…? 山岸風花：帰る場所が分からないんですか？ Fuuka: You don’t know where you’re supposed to go back to? 善：気が付いたら、ここにいた。その前のことは思い出せない。 Zen: We were here when we gained consciousness. We don’t remember anything before that. 山岸風花：えっ… Fuuka: Huh…? 玲：記憶、取られたんです。 Rei: Our memories were taken. 桐条美鶴：取られた…？ Mitsuru: Taken…? 荒垣真次郎：記憶を誰かが持ってった…ってことか？誰にだ？ Shinjiro: You mean… someone stole your memories? Who? 玲：分かんないです。 Rei: I don’t know. 荒垣真次郎：取られたことは覚えてんのにか？ Shinjiro: Even though you remember someone taking them? 玲：取られたことは覚えてんの弐です。 Rei: Even though we remember someone taking them. 荒垣真次郎：じゃあお前らどうやってここに… …って、それも思い出せねえか。 Shinjiro: Then how did you guys get here…? Wait, you won’t remember that either. 玲：それも思い出せねえんです。 Rei: We don’t remember that either.
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伊織順平：ひょっとして…オレらみたいに落ちてきて、そのまま…みたいな？まさかな？ Junpei: Maybe you guys fell here like us, and got stuck? Nah… 桐条美鶴：有りえない…とは言えないな。 Mitsuru: We can’t rule it out… 山岸風花：善くんと玲ちゃんの記憶を奪った“誰か”は、ここにいるんでしょうか… Fuuka: Could the “someone” who stole Zen-kun and Rei-chan’s memories be here? 山岸風花：…あっ、もしかしたら、その“誰か”が善くんと玲ちゃんをここに閉じ込めたとか … Fuuka: Oh… Maybe it’s the same one who trapped them here… 桐条美鶴：それも、有りえないとは言えない。 Mitsuru: Again, we can’t rule it out. 真田明彦：…いや、いるだろうな。 Akihiko: …No, I’m sure they’re here. 山岸風花：真田先輩、何か感じるんですか？ Fuuka: Do you sense something, Akihiko-senpai? 真田明彦：いや？その方が楽しそうだからだ。 Akihiko: Nah. It’s just that it would be more fun that way. 真田明彦：そいつを倒して、出ればいい。シンプルじゃないか。 Akihiko: We just have to defeat them and get outta here. Simple as that. 桐条美鶴：まったくお前は… Mitsuru: *sigh* You can be so… 玲：善、一緒に出よ？わたしも、帰りたい。 Rei: Zen, let’s leave together, okay? I want to go back too. 善：……分かった。玲がそうしたいなら。 Zen: All right. If that is what you wish. 善：私も、この迷路へ入るべきだと感じた。あの金を聞いてから… Zen: Ever since I heard that bell, I felt it was important for us to enter this labyrinth… 桐条美鶴：鐘？ Mitsuru: Bell…? 善：君たちに頼みがある。この迷路を行くつもりなら、私たちも連れて行ってほしい。 Zen: I have a favor to request. If you are going to enter this labyrinth, I ask that you take us with you. 善：迷惑はかけない。私は玲を守り、この迷宮の怪物を相手に戦える。 Zen: We won’t be any trouble. I will protect Rei, and I can fight the monsters in this labyrinth. 桐条美鶴：…まさか、ペルソナ使いか？ Mitsuru: Do you mean to say… You’re a Persona-user? 善：ぺるそな？それは、知らない。 Zen: Persona? I don’t know what that is. 桐条美鶴：…どうする？ Mitsuru: …What should we do? Opt: ―断るのは可哀想だ
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“I feel bad turning them down.” ―戦力は多い方がいい “The more firepower the better.” ―どうしよう “I don’t know.” 善:では頼む。 Zen: Well then, let us do this. 玲:では頼むです。よろしくお願いします！ Rei: Well then, let’s do this. It’s nice to meet you all! 玲:えへへ…安心したら、おなかすいちゃった！ Rei: *giggle* Now that that’s out of the way, I’m feeling hungry! 玲:むぐむぐ…やっぱりドーナツは穴の周りが一番おいしい！ Rei: *munch munch* Donuts taste best around the hole, after all! 岳羽ゆかり：えっ、どこから出したの！？ Yukari: Huh!? Where’d that come from!? 玲：わたし、知ってる。ドーナツって、愛から生まれてる。愛 MEETS ドーナツ。 Rei: You mean where do donuts come from? They’re born from love. Love meets dough, and…! アイギス：強力粉ではなかったのですね。早速、情報を更新するであります。 Aigis: So, they do not come from flour. Updating my records. ゆかり：いやいいから。 Yukari: No, don’t do that… ゆかり：てか善くん…だっけ？さっき、“迷宮”とか言ったよね？ Yukari: By the way, Zen-kun? It was Zen-kun, right? What was it you were saying about a “labyrinth”? ゆかり：やっぱり、この出し物の中って… Yukari: Are there… you know…? 善：この中は複雑な構造になっている。怪物も多く存在する…恐らく、君たちが“シャドウ” と呼んだ存在だろう。 Zen: Inside is a complex structure with many monsters. They are probably the things you called “Shadows.” ゆかり：そ、そんな場所であなたたち、今までどうしてたの？ Yukari: Wh-what did you two do about them? ゆかり：出られないし、記憶もなくて、シャドウまでいる場所で… Yukari: You can’t get out, you have no memories, and on top of all that, there’s Shadows here… 玲：善といたよ？ Rei: I was here with Zen. ゆかり：じゃなくて… Yukari: That’s not what I meant… 玲：ドーナツ食べたり、たこ焼き食べたり、アイスクリームなめたりしてます。 Rei: I ate donuts, had takoyaki, and licked ice cream cones.
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ゆかり：…それだけ？ Yukari: …That’s all? 玲：アメリカンドッグも非常においしい！ Rei: Corn dogs are delicious too! ゆかり：あ、うん、分かった… Yukari: Okay, all right… 風花：やっぱり、この出し物の中を探ってみるしかないようですね… Fuuka: I don’t think we have any choice but to look around inside… 玲：入るの…？ Rei: We’re going in? 善：玲、ここから出たいんだろう？大丈夫、君は私が守る。 Zen: Rei, you want to leave this place, right? Don’t worry, I’ll protect you. 玲：うん… Rei: Mm… 美鶴：＠＠。まずは編成だ。前線メンバーを決めなくてはな。 Mitsuru: First, we need to put together a team. You should decide who’ll be participating in battle, @@. 明彦：俺は行くぞ。シンジ、お前も来い。 Akihiko: I’m going. Shinji, you better come too. 真次郎：何でお前が決めんだ。 Shinjiro: So it’s up to you now? 美鶴：いや…そうだな、我々3 年組が行こう。下の者を未知の危険にさらすわけにはいかな い。 Mitsuru: Actually… he’s right. Us third-years should go. We can’t put our underclassmen in unknown danger. ゆかり：…あ、そう言えば善くんと玲ちゃんは何年生？ Yukari: Oh, that reminds me… What year are you guys in? ゆかり：何となく年下っぽくしゃべっちゃてたけど… Yukari: I’ve been talking to you two assuming you’re younger than us… 善：何年生？…分からない。 Zen: What year…? I don’t know. 美鶴：ではとりあえず、1 年生ということにしよう。 Mitsuru: Let’s assume for the moment that they are first-years. 美鶴：“下の者を”と言った手前悪いが、善と玲には共に前線に来てもらおう。 Mitsuru: Forgive me for going back on my comment about underclassmen, but I ask that you and Rei come with us. 美鶴：怪物を相手に戦えると言ったが、その様子をこの目で見ておきたい。 Mitsuru: You said that you can fight against monsters, and I’d like to see that for myself. 善：ああ、分かった。 Zen: All right.
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風花：私はここからバックアップします。気を付けて！ Fuuka: I’ll back you all up from here. Please be careful! 美鶴：こ、ここは…？ Mitsuru: Wh-What is this place…? 風花：気をつけてください！やっぱり、シャドウの気配がします！！ Fuuka: Careful! I do sense Shadows in there! 明彦：童話の世界、か…いかにも何かありそうだな。 Akihiko: The world of a children’s book, huh…? It seems like the perfect place to run into something. 玲：……。 Rei: …… 善：玲、怯える必要は無い。 Zen: Rei, there’s no need to be scared. 玲：ん… Rei: Mm… 真次郎：…そういや、＠。これを渡してなかったな。 Shinjiro: …That reminds me, @. I forgot to give you this. 美鶴：何だ、それは？ Mitsuru: What is it? 真次郎：傷薬だよ。あの青い姉弟にもらったんだ。 Shinjiro: Some medicine. Those blue folks gave it to me. 真次郎：“傷ついたときは迷わず使え”ってな。 Shinjiro: Said, “Don’t hesitate to use them should you become injured.” 美鶴：ほう、それはありがたいな。 Mitsuru: Oh? That was kind of them. 美鶴：リーダー。仲間の体力が減った時は、惜しまずに回復を頼むぞ。 Mitsuru: If any of us are wounded, leader, be sure to use them without hesitation. >傷薬を 5 個受け取った！ > Received Medicine 5x! ＞扉がある… >There’s a door ahead… 風花：この先を探ったんですが、まだまだ長いみたいですね。 Fuuka: I searched ahead, and I think there’s still a long ways to go… 真次郎：長ェのか…一旦戻った方がいいんじゃねえか？ Shinjiro: That much, huh? Shouldn’t we go back for now? 明彦：そうだな、出来る限り補給してからいいだろう。 Akihiko: Yeah, we should keep our strength up as much as we can before moving on. 美鶴：しかし… Mitsure: But… 美鶴：…そうだな。一旦、ここから出よう。 Mitsuru: No, you’re right. Let’s head back for the time being.
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風花：リーダー。いったん戻りましょう。 Fuuka: We should head back for now. ＞迷宮を出ようか… >Should you leave the labyrinth…? Opt: はい Yes いいえ No ＞“不思議の国のアナタ”前… >In front of “You in Wonderland”… 風花：皆さん、お疲れ様です。 Fuuka: Welcome back, everyone. 風花：先を探ってみたんですが、迷宮の奥に、特殊な反応がありました。 Fuuka: I searched ahead and picked up on a unique reading further into the labyrinth. 風花：おそらく…巨大なシャドウがいると思います。 Fuuka: I think it might be a giant Shadow. 乾：巨大なシャドウ… Ken: A giant Shadow… 風花：多分、強い…と思います。 Fuuka: It’s… probably a strong one, too. 明彦：そうこなくちゃな。 Akihiko: That’s what I’m talking about. 美鶴：やはり、そうなるか…であれば、充分な準備がいるだろう。 Mitsuru: I had a feeling that would be the case… If so, then we must be fully prepared. 善：準備…とはどのようなものだ？ Zen: Prepared… in what way? 美鶴：必要な準備は、そうだな… Mitsuru: Well, for a start… 美鶴：攻撃用の武器、身を守る防具…そして探索に役立てられる道具… Mitsuru: Weapons to attack with, armor to protect ourselves… items that could be useful on our search… 美鶴：加えて、体力が回復できる場所…といったところか。 Mitsuru: And above all else, someplace where we can recover. 美鶴：だがここではどれも見当たらない。 Mitsuru: …Not that we’ve seen any of those things around here. アイギス：今後装備品を更新できない場合苦戦が予想されます。 Aigis: If we cannot update our equipment, I predict that we will face heavy odds. 明彦：ボロニアンモールがあればな… Akihiko: If only we could hit up the Paulownia Mall… 善：これでは不足か？
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Zen: Would this be insufficient? 善：このあたりの物で作った射出装置だ。固形状の物を玉として飛ばせる。玉によって威力 も変わる。 Zen: It’s a projectile device that uses nearby objects. Its effect changes depending on what it fires. 善：これを君達も持てばどうだ。 Zen: Why don’t you all use one too? 真次郎：そいつはありがてえが…俺らはそれぞれ、得意な武器が違うんだ。 Shinjiro: It’s a nice offer, but… we all have our own weapons we like. 真次郎：無けりゃ贅沢は言えねえが、慣れたモンじゃなきゃ戦力は格段に落ちる。 Shinjiro: If that’s all we get, fine, but we’ll be much better in a fight if we can use the stuff we know. 善：…そうか。君達各々に異なる武器… Zen: I see… Different weapons for each of you… 玲：んっとね、あると思う。多分ね、あそこに。 Rei: Um, I think there might be some. There’s a place I know. Opt: どこ？ Where? 連れてって Could you take us there? 玲:色々置いてあるんだ。みんなで行こ！ Rei: It has tons of stuff. Let’s all go there together! 玲:ドーナツ屋さん寄ってから行こ！ Rei: And we can swing by the donut shop on our way! ＞エリザベス、テオと合流し、玲に連れられてやってきたのは、“美術室”だ… >Everyone groups up with Elizabeth and Theo, then Rei leads you all into the “art room”… ＞‟小さなおもちゃを作る体験教室“と書いてあるが、どうも雰囲気かおかしい… >The sign reads “A hands-on class on making small toys!”, but something doesn’t feel right about it… 善：“てづくりこ～ぼ～”… Zen: “Handcrafted Workshop”… 善:こんなところだったか…？ Zen: Was it always like this…? 玲:善、善、イチゴだよ！“いっぱい・小さい・ゴリゴリしてる”でおなじみのイチゴだよ！ Rei: Zen, Zen! Strawberries! They’re like berries full of straw! アイギス：イチゴにそんな意味が…！ Aigis: Is that the true origin of the word “strawberry”…!? 順平：んなマズそーな語源じゃねえっしょ！ Junpei: Of course not! That’s way too nasty-sounding to be true! 風花：見てください、剣ですよ！これなら皆さん… Fuuka: Look, there are swords here! You could use these to… 風花：…あれ？おもちゃみたいですね… Fuuka: …Huh? These are toy swords…
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玲：使えない…？ Rei: Are they no good…? テオドア：あ、ええと…だ、大丈夫ですよ。私ども姉弟がお力添えをいたします。 Theodore: Oh, hmm… I-It’s all right. We siblings will lend you our assistance. エリザベス：ええ、テオが。 Elizabeth: Yes, Theo will be happy to do so. テオドア：姉上…分かりましたよ。 Theodore: Elizabeth… Very well, then. テオドア：では皆様、私がこちらで“装備品”や“消耗品”を生成させていただきます。 Theodore: Well then, everyone. Please allow me to create “equipment” and “expendables” for you here. Opt: 何だそれは？ What do you mean? テオが作るのか？ You’re going to make them? テオドア：研究中でありますが、多少、心得がございます。 Theodore: I am still in the midst of learning the process, but I do have some knowledge of it. テオドア：迷宮でシャドウを倒すと、様々な“素材”を見つけることができるでしょう。 Theodore: You will come across different materials when you defeat Shadows in the labyrinth. テオドア：それをこちらに持ってきてください。武器や防具、消費物に変えさせていただき ます。 Theodore: Please bring them to me so that I may turn them into weapons, armor, and expendables. 明彦：素材？ Akihiko: Materials? テオドア：見ていただくのが早いでしょう。いきますよ… Theodore: It would be faster to show you rather than tell. Here goes… ＞テオに、シャドウの欠片を奪い取られた！ >Theo has taken Shadow Piece from you! テオドア：完成しました！いかがですか！？ Theodore: And it’s done! What do you think? ＞ショートブレードを手に入れた！ >You obtained Short Blade! ＞カエレールを手に入れた！ >You obtained Goho-M テオドア：このように、装備品や消費物を私がお作りいたします。 Theodore: As you have just witnessed, I will create equipment and expendables for you. エリザベス：ただし、代金は頂戴いたします。 Elizabeth: We will need payment for them. テオドア：そうなのですか？ Theodore: We will?
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エリザベス：それでこそ“契約”というもの。 Elizabeth: That is how a contract works. エリザベス：あなたがサボらないためにも、見返り…つまり、“ギブ＆テイク”システムが必 要なのです！ Elizabeth: It’s a means of compensation so that you don’t slack off… Put simply, a give-and-take system is necessary. テオドア：なるほど…！ Theodore: I see…! テオドア：では、心苦しいですが、相応の代金はいただくことにいたしましょう。 Theodore: Well then, thought it wounds me to do so, I will charge a suitable price for said items. テオドア：お力になれるよう、誠心誠意努めて参りますので、どうぞ宜しくお願いいたしま す。 Theodore: I will do my utmost to be of assistance to you, so I hope we get along well. テオドア：あっ…待ってください、＠さま。 Theodore: Ah… One moment, @. テオドア：その手に持っているのはまさしくシャドウの欠片…これはレアです！ Theodore: What you hold there is a fascinating piece of a Shadow… It’s very rare! テオドア：このような形状の欠片を見たのは後にも先にも… Theodore: I’ve never seen a piece shaped like this… テオドア：…あ、糸くずでした。 Theodore: Oh… It was just lint. Opt: 頼りないな You seem unreliable… 大丈夫？ Are you going to be okay? テオドア：そ、そんなことはありませんよ！ Theodore: N-Not at all! エリザベス：それから、もうひとつ。 Elizabeth: There is one other thing. エリザベス：迷宮にお手荷物をすべて持っていくのは煩雑でしょうから、当面不要な物は、 ここに置いて行かれてはいかがですか？ Elizabeth: Carrying all you things around would be burdensome, so why not leave what you don’t need here? エリザベス：テオにお渡し頂ければ、使われていない棚にでもしまっておきますから。 Elizabeth: If you hand it over to Theo, it’ll be stored somewhere, such as an unused shelf. テオドア：さすが姉上…気配り上手ですね！ Theodore: Impressive… Most thoughtful of you, Elizabeth! 順平：全部が弟がやらされてるけどな… Junpei: But she’s still forcing her bro to do all the work… ＞武器や防具、各種アイテムが手作り工房で買えるようになった！
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>You are now able to buy weapons, armor, and other items at the Handcrafted Workshop! ＞さらに、ここに手荷物を預けられるようになった！ >You can also store items here as well! エリザベス：ではテオ、仮にも今から一国一城の主。皆様にお恥ずかしい姿をさらさぬよ う、しっかりとお勤めおお願いいたします。 Elizabeth: Well, Theo, you are now the master of this establishment. Do your duty well and try not to embarrass yourself. エリザベス：そしてこちらはあなたへのプレゼント。こんなこともあろうかと用意した“ユ ニフォーム”…でございます。 Elizabeth: Here, a present for you. It is a uniform that I prepared for just such an occasion! テオドア：姉上…ありがとうございます！主と姉上の名に恥じめよう、立派に… Theodore: Elizabeth… Thank you! I will do my best not to disgrace our master and your name and… テオドア：えっ、まさかこれが…私へのプレゼント…ですか？ Theodore: Er… Surely you didn’t mean… THIS is my present…? エリザベス：着てみてはいかがでしょう？ Elizabeth: Why not try it on? テオドア：えっ… Theodore: Um… エリザベス：着てみてはいかがでしょう？ Elizabeth: Why not try it on? テオドア：ええっ… Theodore: Uhh… テオドア：…はい。 Theodore: …Very well. テオドア：…これで…正しいのでしょうか… Theodore: Is this… the correct way to wear it…? ゆかり：うわあ… Yukari: Yikes… エリザベス：思っていたより… Elizabeth: Now that I see it on you… テオドア：な、なんですか。 Theodore: Wh-What is it? 玲：イチゴだー！“いっぱい・ちいさい・五臓六腑”！ Rei: It’s a strawberry! Bears like to sip from them with straws! アイギス：そのような意味もあるのですね。 Aigis: So, the name has a double meaning… 乾：アイギスさんさっきから玲さんに振り回されてますね… Ken: I think Rei-san is giving Aigis-san some funny ideas… エリザベス：続いては、体力が回復できるような場所…でしたね。 Elizabeth: Moving along now, you asked for a place to recuperate, yes?
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エリザベス：ご安心ください。私、目星を付けております。こちらへどうぞ。 Elizabeth: That can easily be arranged. I have something in mind. If you’ll all follow me… テオドア：姉上…感想の続きを… Theodore: Elizabeth… Are you planning to finish that sentence from before…? ＞保健室 >The Nurse’s Office… 真次郎：…普通の保健室、だな。 Shinjiro: …It’s an ordinary nurse’s office. アイギス：ガッカリであります。 Aigis: This is slightly disappointing. エリザベス：もう少しお時間を頂ければ、多少は居心地の良いように手を加えるのですが致 し方ありません。 Elizabeth: With more time, I could have made some adjustments for comfort, but we’ll have to make do. エリザベス：こちらで、皆様の体力を回復するよう取り計らいいたします。 Elizabeth: I will set things up so that your stamina can be healed here. エリザベス：迷宮からお戻りになりましたら、忘れずにこちらへおいでください。 Elizabeth: Whenever you return from the labyrinth, please remember to come here. Opt: それは助かる That’ll help us a lot. すごい技術だ You have some amazing skills. エリザベス：ありがとうございます。お褒めいただき恐縮です。 Elizabeth: Your praise is heartwarming. エリザベス：＠様のお力添えをするのが、我々の役目…たとえ忙しくても面倒であっても、 役目は果たす所在です。 Elizabeth: It is our duty to aid our guest… Though we may be busy or the work tiresome, we will carry it out. エリザベス：ですから、代金を頂戴いたしますのも仕方のないことでございます。 Elizabeth: That is why I insist on asking for payment for my services. Opt: …代金？ …Payment? タダじゃないの？ It’s not for free? エリザベス：先ほど申しました通り、世の理はギブ＆テイクと申します。私も、摂理を侵す わけにわ参りません。 Elizabeth: As I mentioned, this world mandates a give-and-take system… I cannot go against such laws either. エリザベス：ともかく、これで皆様は様々な準備が整うことでしょう。 Elizabeth: In any case, that should help you prepare yourselves for battle.
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エリザベス：シャドウに苦戦なさいましたら、体力の回復と装備の見直しを。 Elizabeth: If you have a tough time fighting the Shadows, I recommend that you reconsider your equipment. エリザベス：また、前線で戦闘に出られる方の選択も重要でございます。“編成”をお忘れな きよう… Elizabeth: Deciding who will fight in battle is also important. Don’t forget to set a good formation… エリザベス：では、お気をつけていってらっしゃいませ。 Elizabeth: Well then, I bid you good luck on your way. 風花：リーダー、先ほど言われたように、“編成”を見直しませんか？ Fuuka: Since she brought it up, why don’t we reconsider our formation? 風花：全員集合したことですし、だれが前線に立つのか、対策はきちんと立てていった方が いいと思うんです。 Fuuka: Now that we’re all going to pitch in, I think we need to decide on who will stand and fight in battle. Opt: 分かった All right. どうすればいい？ How do I do that? ＞“不思議の国のアナタ”… >”You in Wonderland”… ＞この世界から脱出するための手掛かりが、この中にありそうだ… >This place may be hiding a clue on how you can return to your world… 風花：探ってみます… Fuuka: I’ll try searching ahead… 風花：んー…この出し物はとっても広いみたいです。構造も複雑そう… Fuuka: Hmm… This seems like a very extensive stand. It’s structure looks complex… 風花：タルタロスとは随分違うみたいで、地形やシャドウの詳細な位置までは分からないで す… Fuuka: It’s quite different from Tartarus. I can’t tell the topography or the exact locations of Shadows… 風花：すみません… Fuuka: Sorry… 美鶴：地形をナビできないとなると、迷わないように対策が必要だな… Mitsuru: If you can’t help us navigate, then we’ll need some other measure against getting lost… 善：これは使えるか？ Zen: Would this help? ＞革表紙のノートを手に入れた。 >You obtained Leather Notebook. 善：生徒たちの手帳を繋いで作った。 Zen: I made it by putting the students’ day planners together.
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善：玲の行く店の場所を描きとめるために作ったのだが、覚えたので不要な物だ。 Zen: I made it to write down where Rei’s favorite shops were, but I don’t need it now that I’ve memorized them. 善：ここまでの道のりも描いておいたが、今後は統率者である君が描くといい。道に迷うこ とは無いだろう。 Zen: Since you’re our leader, you should handle marking our path from now on. It’ll help keep us from getting lost. 風花：あ、そうですね！明らかになった場所は、リーダー自らが“地図”を描いてもらえませ んか？ Fuuka: Ah, you’re right! Could you draw a map of the places you’ve been? 風花：確実な地図があれば、この世界から脱出するのにすごく役立つと思います！ Fuuka: A reliable map could be very useful for us to escape from this world! ＞迷宮の構造は複雑なようだ。地図を描いて進むことにしよう… > The labyrinth appears to have a very complicated layout. You should remember to draw a map as you go… 風花：それと…かなり強いシャドウがちらほらといるみたいです。 Fuuka: Also… It seems there are a number of pretty strong Shadows. コロマル：ウゥ～… Koromaru: Grrr… 明彦：いいニュースだな。 Akihiko: That’s great news for us. 風花：とりわけ強そうなので、区別して呼びますね。えっと… Fuuka: Since they’re so strong, I’ll call them by a separate name. Um… 善：フュウシス・オイケイン・エイドロン。 Zen: Fysis Oikein Eidolon. 美鶴：…何だと？ Mitsuru: …What? 善：フュウシス・オイケイン・エイドロン。 Zen: Fysis Oikein Eidolon. 順平：２回言われても！つかどーいう意味だよ。 Junpei: Saying it twice doesn’t help! Like, what’s that supposed to MEAN? 善：そのままだが。 Zen: It’s just as it sounds. 美鶴：…まあいい、それを使わせてもらおう。略称は“F.O.E”でいいな。 Mitsuru: Very well… we’ll go with that. We’ll call them FOEs for short. 風花：F.O.E ですね、分かりました。 Fuuka: FOE? Okay. 風花：この F.O.E ですが、おそらく、勝てる相手じゃないです。 Fuuka: About these FOEs, though… I don’t think you’ll be able to beat them. 風花：見た目でわかると思いますから、無理せず避けてください。
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Fuuka: You should be able to tell just by looking at one, so don’t do anything rash. Just stay out of their way. 明彦：逃げろってことか！？ Akihiko: You’re telling us to run from them!? 美鶴：無駄に戦力を削るのは愚の骨頂だろう。回避も逃走も重要な戦略だ。 Mitsuru: Putting ourselves in unnecessary danger would be reckless. Discretion is the better part of valor. 美鶴：いいか、F.O.E を見つけたら、“戦わない”ことを第一に考えてくれ。 Mitsuru: If you find an FOE, take pains not to fight it, understood? 風花：では皆さん、気をつけて行ってきてくださいね。 Fuuka: Well then, please be careful on your way. 風花：私も頑張ってバクアップしますから！ Fuuka: I’ll do my best to back you up! 美鶴：＠＠。この先は任せる。頼んだぞ。 Mitsuru: @@, the rest is up to you. We’ll be following your lead. ＞一方その頃… > Meanwhile… ？？？：ようやく… ???: Finally… ？？？：ようやく、始まるのだ… ???: Finally, it will begin… ？？？：時が… ???: “Time” resumes… ＞足元にカードが２枚落ちている… >There are two cards on the ground near your feet… ＞何に使用するのかわからないが、持っておこうかな… >There’s no knowing what they’re used for, but you should probably hold onto them… ＞白紙のカードを２枚手に入れた！ >Obtained Blank Card x2 美鶴：ん？この壁、他の壁と雰囲気が違うな。 Misturu: Hm…? This wall seems different from the others. 明彦：これは…時計か？ Akihiko: Is this… a clock? 美鶴：何かの目印なのか…あるいは何か仕掛けが…？ Mitsuru: Is it a sign of some sort…? Or is there some kind of mechanism to it? 明彦：どうする？ Akihiko: What should we do? 美鶴：とりあえず先に進もう。後で何か分かるかもしれない。 Mitsuru: …Let’s move on for now. We may learn more about it later. 美鶴：全員、止まってくれ！ Mitsuru: Everyone, stop for a moment.
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美鶴：この壁の時計は、先ほどの壁にあったものと同じだ。地図を見せてくれ。 Mitsuru: The clock on this wall matches the one we saw earlier. Let me see the map… 美鶴：……。 Misturu: Hm… 美鶴：やはり先ほどの壁の反対側が…何か仕掛けがあるかもしれない。慎重に調査を… Mitsuru: Aha, this is the other side of that same wall. There may be something there after all. We should -- 順平：おっ？スイッチはっけ～ん！ Junpei: Ooh, I found a switch! 美鶴：ま、待て！伊織！ Mitsuru: W-Wait! Iori! 順平：あひゃ！？ Junpei: Wah!? 順平：…あれ？ Junpei: …Huh? 美鶴：どうやら、先ほどの場所に出たようだな… Mitsuru: We seem to have emerged where we were earlier… 美鶴：とすると、この時計は通り抜けが出来る仕掛けの目印ということか。 Mitsuru: That suggests the clock is a sign for a mechanism that lets us pass through walls. 順平：仕掛けは向こう側にしかないんスかね？ Junpei: Damn, is there no switch for it on this side? 美鶴：いや…どうやらこちらからも通れるようになったようだ。 Mitsuru: No… It seems we can pass through form this side as well now. 美鶴：一度仕掛けを作動させれば両側から通れるんだろう。 Mitsuru: The mechanism must allow passage from both sides once activated. 順平：おおー。便利っスねー。 Junpei: Ooh, that’ll come in handy. 美鶴：感心してる場合か、まったく！慎重にと言ったそばから… Mitsuru: This is hardly the time to stand around impressed! Honestly… I just said we should be cautious! 美鶴：いいか、ここはシャドウの巣窟だ。今後はもっと慎重に進むんだ。 Mitsuru: Listen to me. This is a Shadow’s lair. We must proceed with greater caution from here on out. 順平：ス、スイマセン。 Junpei: S-Sorry. 美鶴：…それと、＠＠。この仕掛けのことは地図に描いておいた方がいいだろう。 Mitsuru: …And @@. I advise you to note this mechanism down on the map. 順平：やっべ、なんだアレ？でっけーシャドウがいんぞ！？ Junpei: Holy crap, what is that!? There’s a giant Shadow over there! 善：あれが F.O.E だ。 Zen: That is an FOE.
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風花：かなりの強敵だと思います。注意してください！ Fuuka: It seems like a very powerful enemy! Please be cautious! 明彦：よし、突撃だ！ Akihiko: Alright, let’s charge at it! 美鶴：突撃だ、じゃないだろう！無計画に突っ込もうとするな！ Mitsuru: We won’t be doing that. Don’t rush into things without a plan! アイギス：あの F.O.E…挙動不審であります。 Aigis: That FOE is behaving suspiciously. アイギス：戦闘態勢を取ろうとしないばかりか、こちらに興味を示さないであります。 Aigis: Not only is it not readying itself for battle, it is showing no interest in us. 風花：そう言われれば… Fuuka: Now that you mention it… 風花：うーん…もう少し、F.O.E の動きを観察してみてください。 Fuuka: Hm… Try observing the FOE a little while more. 風花：あ、あれ…？あの F.O.E の動きって、規則的じゃないですか？ Fuuka: H-Huh…? Isn’t that FOE moving in a distinct pattern? 風花：決められた場所を、ぐるぐると周ってるような… Fuuka: It looks like it’s going in circles around a certain area… ゆかり：うん、ホントだね。あそこの池の周り、なんかあるのかな。 Yukari: Yeah, you’re right. I wonder if there’s something around that pond. コロマル：ワン！ Koromaru: Woof! アイギス：‟あそこは F.O.E の縄張りだ。侵入してアイツに突撃すれば、容赦なく襲われ る。” Aigis: “That is the FOE’s territory. If we enter the area and attack it, it will retaliate mercilessly.” アイギス：と、コロマルさんが警戒しています。 Aigis: …That was Koromaru-san’s warning. 順平：お…おう。さすが、縄張り争いの世界に生きてるだけあんな… Junpei: R-Right… Wise words from someone who knows all about marking his territory. 真次郎：それなら、やっこさんの動きを読んで避けられるってことだな。 Shinjiro: What that means is, we can predict the thing’s movement and avoid it. 風花：はい。強敵ですし、戦闘は避けたほうがいいと思います。 Fuuka: Yes. It’s a powerful enemy, so I think it would be best to avoid fighting it. 明彦：なんだ、つまらん。 Akihiko: Where’s the fun in that? 美鶴：明彦、まったくお前は… Mitsuru: Akihiko… Why must you always be so… 美鶴：とにかく、F.O.E を見たら無駄に戦おうとせず、避けることだ。分かったな？ Mitsuru: Anyway, if you see an FOE, don’t try and fight it. Give it a wide berth instead. Understood? 乾：あれ？ちょっと、あれを見てください。
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Ken: Huh? Look over there. 乾：向こうにあるのって階段ですよね？下に行くみたいですけど… Ken: Aren’t those stairs? It looks like they lead down… 風花：気をつけてください。下からもシャドウの気配がします！ Fuuka: Please be careful. I’m detecting Shadows down below as well! 風花：どうやらここは、下に向かって何層にもなっているみたいです。 Fuuka: This place seems to consist of multiple floors going downward. 風花：まずは、あの階段を当面の目標にしてみてはどうでしょう。 Fuuka: Why not make reaching those stairs our objective for now? 真次郎：なら、あの階段から下に行かなきゃなんねえか… Shinjiro: If we wanna go further down, we’ll have to use those stairs… 真次郎：つっても、この池は越えらんねえな。 Shinjiro: But we can’t get over this lake. 真次郎：他に道は無さそうだ、こっちから行くぞ。 Shinjiro: Looks like the only real way forward is through that door. Let’s head that way. 風花：あっ、それと！その扉の向こう側からシャドウの気配を感じます！ Fuuka: Oh, one more thing! I’m sensing Shadows from beyond that door! 風花：気をつけてください！ Fuuka: Please be careful! 善：玲…下がっているんだ。 Zen: Rei… Stay behind me. 玲：う、うん… Rei: O-Okay… 美鶴：ここは行き止まりか… Mitsuru: It’s a dead end… 美鶴：＠＠、ここまでの地図はどうだ？ちゃんと描けているか？ Mitsuru: How is the mapmaking going so far? Have you been maintaining it carefully? Opt: バッチリ Perfectly. 不安… I’m a bit worried… 美鶴：ふむ…ちょっと見せてくれ。 Mitsuru: Hm… May I have a look at it? 美鶴：……。 Mitsuru: …… [Cut: conversation doesn’t match up] ゆかり：な、何これ。地面が光ってんだけど… Yukari: Wh-What is this? The ground’s shining… 順平：オーラじゃね？スピリチュアル的なアレ。 Junpei: Isn’t it some kind of aura? Y’know, all that spiritual stuff.
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アイギス：パワースポットと呼ばれる霊場でありますね。 Aigis: You mean the sacred locations known as “power spots.” アイギス：“ゴリヤク”なるものをもらうため、主に女性が集う観光地であります。 Aigis: These are tourist sites where people, primarily women, gather to receive good fortune. 順平：そーそー！アイちゃん、良く知ってんじゃん？ Junpei: Yeah, that’s it! You sure know a lot, Ai-chan ゆかり：それとここは違うと思うけど… Yukari: I don’t think this and what you were talking about are the same thing… 順平：フューシス…なんちゃらが F.O.E なら、パワースポットは P.S.T だな！ Junpei: If those Fysis-whatevers are called FOES, then we should call these Power Spots PSTs for short! 明彦：P.S.T…？ Akihiko: PSTs…? ゆかり：何それ？ Yukari: What’s that stand for? 順平：ぱわー…スポッ… Junpei: Power… Spo… 順平：…ト。 Junpei: …t? ゆかり：聞いた私はバカだったわ、ごめんね？ Yukari: I’m sorry. I should have known I would regret asking. 順平：やめて！優しく謝らないで！！ Junpei! Stop it! Don’t apologize all nice like that! 真次郎：いーから、とっとと行くぞ。 Shinjiro: C’mon, let’s just get going. 真次郎：…ん？真ん中になんか落ちてるみてェだな。 Shinjiro: Hm? Huh… I think there’s something in there. 真次郎：このパワースポットとやらを調べてみるか。 Shinjiro: Maybe we should check out this Power Spot closer. ゆかり：あ、なまえ決まっちゃった… Yukari: So we’re going with that name…? ＞パワースポットを調べた… > You check the Power Spot… ＞…？ > ……? ＞ケーキの頁を手に入れた！ > Obtained Cake Page! 風花：それ！シャドウを倒した時に落とす“欠片”と同じ気配を発しているようです！ Fuuka: Oh! I’m getting the same reading as the “shards” the Shadows drop when they’re defeated! 風花：テオさんに渡してみれば、装備や消耗品にしてくれるかも！
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Fuuka: If you give those to Theo, he might be able to make them into equipment and items! 順平：じゃ、お金持ちになれるってこと！？ Junpei: Does that mean we can get rich off them!? 風花：ただ、シャドウの気配も感じます…調べる時は、慎重にお願いしますね。 Fuuka: But I’m sensing Shadows too… Please be careful while you check it. 真次郎：…まだいくつか落ちてるみてえだな。全部拾っていくか？ Shinjiro: …Looks like there’s a couple more here. Should we grab them all? ＞抜け道がある… >There’s a secret passage… ＞この先には、シャドウが待ち構えているようだ… >It seems a Shadow is waiting up ahead… Opt: 通る Go through 通らない Don’t go through アイギス：シャドウの消滅を確認。戦闘モードを解除します。 Aigis: Elimination of Shadows confirmed. Exiting battle mode. コロマル：ワン！ Koromaru: Woof! アイギス：どうやら、コロマルさんがリーダーを褒めたいようであります。 Aigis: Koromaru-san wishes to praise you. アイギス：地図にばかり気を取られていたら隠されたこの部屋は見つからなかった、さすが はリーダーだ、だそうです。 Aigis: He says we would not have found this hidden room if we had been focusing only on the map. コロマル：ワン！ Koromaru: Woof! 順平：やっぱどうしても、その“ワン”にそんだけの意味があるとは思えねえよなぁ。 Junpei: I still don’t believe one “woof” has all that meaning. アイギス：言語機能による伝達ではありませんからコロマルさんがその通りに言っているの ではありません。 Aigis: It isn’t verbal communication, so Koromaru-san is technically not “saying” it. アイギス：コロマルさんの気持ちを汲み取り、相応しい言葉に変換しています。 Aigis: I am picking up on Koromaru-san’s feelings and translating them into the appropriate language. アイギス：培ったコンビネーションが成せる技…という点では、順平さんとゆかりさんの関 係と類似しているであります。 Aigis: Our partnership allows us to do this. It is similar to Junpei-san and Yukari-san’s relationship. ゆかり：ちょっと、アイギス。勝手にコンビにしないでよ！ Yukari: Uh, Aigis… Who says me and him have a relationship!?
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順平：ワン。 Junpei: Woof. ゆかり：あんたも吠えんな！ Yukari: No comments from the peanut gallery! アイギス：やはり類似しているであります。 Aigis: You two are similar after all. コロマル：ワン！ Koromaru: Arf! ＞通路の奥に何かが落ちている… >There’s something on the ground at the end of the passage… 玲：箱があるよー。 Rei: It’s a box. 善：怪しいな。派手な色彩だ。 Zen: It looks suspicious… Those bright colors… 善：…風花。何か感じないか？ Zen: …Fuuka. Do you sense anything from it? 風花：特に怪しい気配は感じないけど… Fuuka: I’m not sensing anything strange in particular… 善：そうか。 Zen: I see. 順平：あー、玲ちゃんに善。それはあれだ、魔法の箱だ。通称、マジーックボーックス。 Junpei: Ooh, you guys. This is one of those things… You know, a magic box. ゆかり：は？あんた、何言ってんの？ Yukari: Huh? Have you totally lost it? 順平：ちょ、ゆかりッチ！もう少し聞く努力を！ Junpei: Dude! At least try and hear me out before you roll your eyes! 順平：…お、おほん。玲ちゃんのアメリカンドッグを入れてみな。 Junpei: …A-Ahem. Rei-chan, try putting your corn dog in it. 玲：う、うん… Rei: O-Okay… ＞玲が箱の中にアメリカンドッグを入れると、順平は箱のフタを閉めた… > Rei puts her corn dog in the box, and Junpei closes its lid… 順平：入れましたね？皆さん、見ましたね？ Junpei: Alright, so, you all saw her put it in there, right? 順平：ではでは、ぐるりと回して…そして、フタを開けますと… Junpei: Now let’s give it a spin… aaaand when you open the lid… ＞順平は箱のフタをゆっくりと開けた… > Junpei slowly opens up the box’s lid… 順平：あら不思議！とっても美味しくなるのでしたー！ Junpei: Surprise! The corn dog is now extremely delicious!
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ゆかり：え、ちょ…え！？ Yukari: Huh? Wait… What!? 玲：わーい！２本に増えてるー！ Rei: Yaaaaay! There’s two of them now! 順平：…へ？ Junpei: …Eh? ＞確かに箱の中には２本のアメリカンドッグがある… > Indeed, there are two corn dogs in the box… 玲：す、すごいよ、善！順ちゃん、魔法使いだった！ Rei: Th-That was amazing, Zen! Jun-chan’s a wizard! 善：ああ。順平にも特技があったんだな。 Zen: Yes. It seems even Junpei has a special skill. 順平：あ、あは、あはははー！み、ミスターイオリーと呼べー！ Junpei: A-Aheh, hahah! C-Call me Junpei the Mysterious, the Grand Illusionist! ゆかり：なーんか怪しー… Yukari: Something seems suspicious here… ＞この箱に別の物を入れてどうなるか確かめてみるのもいいかもしれない… > You could try putting something else in the box to see what happens to it… ＞手品用の箱がある。アイテムを入れてみようか… > There’s a magic box before you. Should you try putting an item in it…?
Opt: 何も入れない Don’t put anything in it 傷薬を入れてみる Put a Medicine in it
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