• Two months since the last update, dead again? :P

    Perhaps you could get a Twitter to update people on how it’s going or when you’re taking breaks.

    • Man it’s been two months already? This year is flying by ~_~

  • I’m on my iPhone and when i access that link, i only get a page that says some volumes are complete. Not any links, files or pages where i can read the volumes.

    • Hmm, it’s a link to a mediawiki… not sure how it looks on iOS, but there should be a sidebar menu that lets you get to the pages?

  • An anime adaptation for Zaregoto has just been confirmed! Rejoice!

  • Hi. I started reading this series recently.

    First of all, thanks for your work.

    Now, I have a couple of questions. The first would be why the e-book version has the quality of the illustrations so low despite the wiki having it quite good (and it’s not something caused by the compression), and no translated ToC and Dramatis Personae. The second would be why in volume 4 (Utsurigi Gaisuke’s Nonsense-Killing) “boar” has been translated in almost all of its appearances as “monkey”.

    • Hiya, thanks.

      1) I didn’t make the ebook (not actually sure how to do them)… sorry :(
      2) Huh. Did I misread the kanji all the way through? =_= I’ll take a look at the book again…

      Thanks for the heads up.

  • Just wanted to thank you for work, i had a few lenghty questions that i was curious about. Like how and why you learned nipnog to this degree, and what your decision making process is for how you translate honorifics and some otherthings is like.
    Ps. What are your thoughts on some of nishinos other works?

    • Hiya, sorry I’ve been in and out again.

      1. I’m bilingual but the “other way” — Japanese is my natural (conversational) language. Translating’s been my way of forcing myself to improve my English. The irony is that my profession is based on writing, in English, but it’s a very different skillset and different type/use of the language.
      2. I generally try to do full localization (ie. dropping honorifics entirely), but I know I’m prone to being inconsistent because I’ll absent-mindedly just keep something. I also feel like I lose something dropping them entirely, and I don’t always have a good solution. Tough call =”=
      3. Nishio’s an interesting writer. I feel like the majority of his books are more an authoring experiment and less something to be read. For example, his most popular series — Bakemonogatari — was clearly meant to be read. Zaregoto series on the other hand was meant to be read (it being his first big novelization), but you can tell that the first half of the series (sadly, the set I’ve been able to translate thus far) was a, dare I say, failed experiment at writing mystery. As the series went on, he realized his “dialog” was a better hit with readers, and as a result you can see a gradual transition where the “mystery” becomes more of a “plot device” and the majority of the novels focus on the dialog between the quirky characters. And this series thus turned into an experiment, and he would go on to brush up the result of these findings on Ningen Series and then Bakemonogatari.
  • At last I got around to read the second half of Utsurigi’s arc and am currently on chapter 3.

    I’ve read a mention that the “most accepted” theory about the Venus of Milo’s arms is that she never had them to begin with. Once one does a not really deep rsearch on the topic, though, the theory becomes as flimsy as the long time accepted one about its authory (Praxiteles), being the same in the point that they won’t allow facts to get in the way of their theory.

    The facts are as it follows: it’s not known the time of its discovery and who did it, as it has been attributed to several different people, but besides that, all accounts tell the same, that it was found inside a temple missing its right arm and its left arm to the elbow, on a plinth with an inscription and several more pieces belonging to it scattered around, including a left hand holding an apple; that it was carved in several pieces held together by metal tenons, and there are holes (filled later, most likely in the modern era) to hold the separatedly carved right arm in such a way; that the piece of left arm from shoulder to elbow fell off sometime between the time it was bought for the Louvre and it reached there, and that all of the broken pieces that could be recovered were stashed along with the plinth at (perhaps) Louvre’s storage (current status: unknown).
    The reason why the plinth was stored away was, as I said before, to not let facts get in the way, as the bright minds of the cultured experts were perfectly sure that it was the work of the renowned sculptor Praxiteles despite the fact that the votive inscription on the plinth made clear that the sculptor had been Alexandros of Antioch.

    TL;DR: There is proof of the existence of a lost right arm, while the left arm was found fragmented, but had clearly been once complete.

  • I don’t want to bother, but last update (even in the comments) it’s almost a year ago. Are you still working on this?

    • Hmm, the last update I made was actually two months ago. Slowly chipping away at it.

  • hey, first and foremost, i really appreciate your work on this novel. your work has done me a great deal as this book is really good. hope that this is still ongoing.

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