Category Archives: Translation

Bloom Into You stage encore event report

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This was an event to commemorate the release of the stage Bloom Into You encore Blu-ray & DVD, which will be available in late May.
It was held at Ikebukuro HUMAX CINEMA on May 5, 2023, with 3 sessions (11:00, 13:00, and 16:00).
The speakers were Kawauchi Misato, Koizumi Moeka, and Isobe Karin, with Tsuji P as the MC. Each session had a guest: Tanoue Marina, Mizuno Fumito, and Harusaki Non, respectively.

This time my translations are based on multiple fan reports in #舞台やが君 on Twitter, including but not limited to those by たむ (1, 2, 3), ヨリシロ, 鈴木ピク, and くまくま.

Kawauchi used to pronounce Google (グーグル) as Goolgle (グールグル → グルグル, round and round)

The kiss scene by the railroad crossing is shot from the side, so the kiss can be clearly seen
Afterwards when Touko exits into the stage wing, Isobe points out how long Koizumi’s legs are
Isobe gets angry when the projection mapping on Yuu, Touko, and Sayaka creates a triangle during the opening song
It was Tsuji P’s idea to have Sayaka glance at Yuu and Touko just before she exits the stage

Mizuno brought a bag with him and introduced his mementos from the stage play
Most notable is the notebook he used as a prop
There is an illustration of Saeki Sayaka doing a crouch start (Sayaka stretching her Achilles tendon)

Isobe often did stretches in the training room, which inspired Mizuno to draw her poses
Mizuno had also drawn the layout of the stage play encore’s set
There is a cursed page (a page crammed with text)
Mizuno’s handwriting is very neat, and he wrote down his lines to memorize them
Koizumi can memorize when she has a partner to practice with
Kawauchi can more or less memorize as she goes through her lines
Isobe can’t memorize

Mizuno met the YagaKimi work when he was allowed to observe the dress rehearsal of the stage reading SaSaTsu
His impression of the troupe was that of an all-girls school
He saw some of the cast members playing train (a game where people line up, hold a strap, and sway to and fro)
Kawauchi’s impression of Mizuno is that he’s just like Maki
Her impression of Ishiwatari Mashu (the actor for Maki in the first stage play) is that of a merry older brother
Her impression of Izaki Ryujio (the actor for Maki in the stage reading) is that of a steadfast older brother

In a scene that focuses on Touko, Sayaka, and Yuu, Maki and Doujima have an off-mic dialogue in the background
Since it’s their first meeting, their conversation is about their previous activities
Maki can be seen gesturing like he’s swinging a table tennis racket
When Yuu says she is against doing the student council council play, Touko and Sayaka have their own off-mic dialogue
They jokingly suggest bribing Yuu with money
Touko 「1,000? 2,000?」 Sayaka 「Let’s go with 10,000 yen」

A lot of small parts (such as Doujima’s lines) were cut from the script to fit the performance time, but Odagawa Soui restored some on his own
In the scene where Touko says she wants to kiss Yuu, Isobe interjects 「No!」
Koizumi is embarrassed by the kiss scene
The last scene between Maki and Yuu has a few more lines than the original work because Nakatani-sensei wanted it so

When Tsuji P saw Mizuno’s video audition, he became immediately resolved to cast him
Tsuji P was pleased that Odagawa had grown as an actor, but told him to make his performance as Doujima less stylish
The scene where Touko gives the student council raw yatsuhashi became a changing comedy routine
Mizuno and Odagawa checked their joke material with Tsuji P each day

Koizumi had so much fun in the dressing room that she hardly spared time to go get lunch or go to the restroom
Harusaki recalls how Kawauchi took care of her during the first stage play, which made her want to treat Oishi Natsumi (the new actress for Akari) the same way
As Tsuji P fumbles with the controls to display a scene with Koyomi’s cuteness, Koizumi acts like a spoiled child
Koizumi 「I wanna see, I wanna see! Papa~!」 Tsuji P 「Don’t call me Papa」

Isobe went to the place where Sayaka’s confession was actually set (the rooftop of Kyoto Station) to see the night view
Koizumi jokes that her night view was of the audience’s faces
Isobe emphasizes that from her point of view, Touko was immensely beautiful
Harusaki comments that there are times when Koizumi can stay silent

Isobe makes interjections throughout the remainder of the Kyoto scenes
Sayaka 「The face is important, you know」 Isobe 「The face is important, you know!」
「What a good girl」　
「I think she’s a pretty good girl」　
「Isn’t she a good girl?」　
「It would be better (to go with Sayaka)」
「It would definitely be better」
「Go with me!」
「Hey, why don’t you just go with me?」
「Aren’t you fine with me? Hey!」
All of the cast members cried after watching the scene where Sayaka gets turned down

Tweets from the three speakers:

愛は鎖じゃない lyrics

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The lyrics of 「愛は鎖じゃない」 are by Leo Ieiri (家入レオ).

Eh.
Our relationship? I don’t know if you ask me out of the blue
I like you, but maybe not in that way

If you date someone, you have to break up someday, right
It’s seriously the worst, truly the worst, I know it
Not wanting to hurt you, I always keep the tobacco faint
Why do girls want to become girlfriends with this? What a hassle!

Jeez, just drop it already. Don’t ask me a single thing about it
Am I being selfish like this? How awful
You’re trying to say that I’m the worst, aren’t you
You were attracted to the worst, weren’t you
Love is not a chain

I thought it was the same for you. If I really liked you
I wouldn’t have started this way. Would not. Don’t make me say it again

But when I see you, I think I like you the most
Being kind, cute, you’re somewhat calming
No matter when, I can speak sincerely with you
Why do girls always want promises with this? It’s fine the way it is!

Jeez, just drop it already. Don’t ask me a single thing about it
Will I not see you anymore? How awful
You’re trying to say that I’m the worst, aren’t you
You were attracted to the worst, weren’t you
Love is not a chain

Winter Lyrics

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The lyrics of 「Winter」 are by Leo Ieiri (家入レオ) and Kanata Okajima (岡嶋 かな多).

Snow fell again and saw me. There was me, who stopped breathing
The warmth of our joined hands had been more right than words
Ruining each other, saving each other

If I had not lost my mind
I would not have hurt you
I wonder if someday I’ll be able to cry honestly
To dream about someone like this

You had embraced me, who became a beast
Where are you? Have you already forgotten?
Tell me I’m being silly, smile at me again
I don’t care if it’s a lie

You had been staring at me. I could not bear it, I was defiling

I wanted to protect you more than anyone, but you were making me despair more than anyone
I was afraid, but I did not stop

I wonder if you are a miracle that happened to an ordinary me
Even if I realize it now

Because of me, the future that never came is the only thing
you think about. Funny, isn’t it

You had embraced me, who became a beast
Even though I had to shake you off to get it
Snow fell again, it stared at me. Hey, where are you?

To stop me from being emotionally broken
the only way was to lose you
Tell me I’m being silly, smile at me again
I don’t care if it’s a lie

嘘つき Lyrics

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The lyrics of 「嘘つき」 are by Leo Ieiri (家入レオ) and Hikaru Ishizaki (石崎光).

You’re a liar. Knowing, but pretending not to see
What are you trying to protect with sorrow as a shield?
Unable to choose if it’s black and white―why did you decide that on your own when there is no one answer
Hey, running away losing and crying out, and giving up and even being selfish
They’re a part of what it means to be alive, I have realized

It was a pain to sleep, it would not pass the time
I wanted it to end, there was no end to it

Why is having hope (a light, a modest desire) so agonizing?

You’re a liar. Noticing, but pretending not to hear
What are you trying to protect with justice as a shield?
Unable to choose if it’s black and white―why did you decide that on your own when there is no one answer
Hey, trusting completely and being betrayed, then feeling zero hatred and envy
They’re a part of what it means to be alive, I have realized

I didn’t want to be hated, I also didn’t want to choose
I didn’t make a mistake, I didn’t want to admit it

Why is voicing it (I don’t want to get hurt anymore) so agonizing? You’re a liar

Who are you pretending to live for
What are you trying to protect by killing yourself?
I want to change, I cannot change (I detest my cowardly self)
I want to forgive, and be forgiven (even if it’s just lip service)

You’re a liar. Knowing, but pretending not to see
What are you trying to protect with sorrow as a shield?
Unable to choose if it’s black and white―why did you decide that on your own when there is no one answer
Hey, running away losing and crying out, and giving up and even being selfish
They’re a part of what it means to be alive, I have realized

You liar

Bloom Into You stage encore impressions

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This is a partial translation of 和紀’s entry. Please check it out for more details.

Structure: A bold allotment of 1 hour and 45 minutes for Act 1, a 15-minute intermission, and 55 minutes for Act 2. My expectation was that it would be divided a bit more evenly and spend more time in the second half, including the student council play, but I think they took the shape of carefully performing the first half without rushing. The first half, in particular, is packed with gloomy, heavy, heartrending things, with Koito-san trying her best, Nanami Touko being sly, Doujima-kun being healing, etc., and the second half has the heartrending love unfold from the student council play. It’s splendid.
Structure and production: I felt like the overall focus was on 『the story of Koito Yuu and Nanami Touko』. What I felt was particularly different from the first performance was the will to portray the characters of Koito Yuu and Nanami Touko in a straightforward and honest manner, instead of producing a 「transparent, mysterious, and radiant view of the world」. Is this because it is an encore performance that includes the final episodes? I wonder if it has become a story that faces people as humans instead of a mystery that unfolds behind a thin, fluttering curtain
A bit of a disappointment in the production: I guess there were many things they couldn’t do because the microphone was on the left cheek. Like kissing, close embraces, and the plap-pull-pull. For the plap-pull-pull, I don’t mind not having the plap, but I wanted her to pull both cheeks instead of pulling the left cheek that can’t be seen from the audience (maybe not actually pulling it). But then she wouldn’t be able to speak and the microphone will pick up the sound, mm~~~ since you probably wouldn’t know what she was doing if you didn’t know the original work, I wanted her to plap-pull-pull…… only pull-pull. But they have microphones. Koito-san’s 「Hyaehi-henhai?」 is splendidly cute. Just cut the microphone here and put it in…… no, they can’t do that. So close to perfect. There were a few scenes like that.

First half: Unlike the RTA aspect of the first performance, there was a sense of security and trust in the performance, which took its time after cutting down the parts that needed to be cut. Maybe that’s why I felt like Koito-san was standing firm, because in the first performance, I felt like she was really running around. Of course, she was getting swept up by others, but when I saw her stop and step forward with 「I have to do this」, I was like 「Koito Yuu is really (amazing)」 and 「Nanami Touko is really (sly)」.
And the umbrella. It was a light purple transparent umbrella, so I thought they would hide the kiss from the audience as with the first performance and was going to go 「There it is!」 but oh dear, they didn’t hide it!!! They kissed without hiding it with the umbrella. 「Is it okay to have seen this?!」 I was so shaken. Maybe this was another part of the production to face people as humans instead of a mystery. Mmmm, both of those productions are hard to discard. I still have a mind that wants to expose what’s hidden. But I don’t want Koito-san to get wet in the rain. Nanami Touko, cool your head a little. No, don’t cool your words.
The rooftop scene where she won’t let her kiss. It’s a very important scene, but when Koito-san takes Nanami Touko’s palm and puts it on her chest to persuade her, I ended up thinking 「……Isn’t Nanami Touko inwardly going 『Yuu’s boobs!!!』 here and not putting it into words?」, but no, it’s an important persuasion scene. Koito-san is trying to persuade with all her heart. Nanami Touko, who was staring at her palm after they separated, felt Koito-san’s heart. Not her chest. Probably.
I’ll come to a conclusion by the third time, but is Doujima-kun ad-libbing his 「Having more girls around will be welcome!」 poses? I’m looking forward to them. Doujima-kun on the YagaKimi stage is healing.

Second half: I feel like the student council play is a simplified version. In the first performance, the student council play was the culmination and a symbol of Nanami Touko’s change, but in the encore, it is a passing point followed by a surge of famous scenes, so I think it had to be cut down to a 55-minute structure, but with the student council play being the student council play, it is still a major milestone, so I particularly wanted it to depict the struggles and changes of the girl who lost her memories, and her relationship with the nurse. There are no fluctuations in the pacing, so it becomes a scene where she worries from beginning to end, or rather, she continuously does the habit of 『touching her hair』 which gets pointed out, so I would have liked something other than that habit to find 『you』. The crutches are just for decoration, and it would be irreverent to say it is a waste. But as for the structure, it seems to be the right choice.
Spill Out. It all spilled out. Nanami good-looking Touko. Her sorry is formidable. I felt like crying at this point each time. I lie, I did cry.
The school trip. This part is the pinnacle of beauty. ManaMido’s healing and Sayaka’s beauty, gentleness, and beautiful tears overwhelmed me. I cried without reserve. Maximum thanks for doing this to the fullest.
Maki-kun’s admonishment scene was also a difficult part performed well. Throughout the whole story, Maki-kun was tremendously Maki-kun. This is Maki Seiji. The part where he isn’t prudent and the part where he is a little unpleasant is also Maki Seiji. His passages in volume 7 are really good, and I particularly like his monologue after Koito-san runs off.

The confession. The culmination of the human beings Koito Yuu and Nanami Touko. It’s deeply moving. Watching the two of them step forward.

Curtain call: When Kawauchi-san said that she delivered her sentiments of three years in the best shape like this, I was so overcome with emotion that I cried. Thank you to all the actors and staff.

various other things
MiyaRiko: Miyako-san has the image of an 『easygoing poker face』 and a 『teasing character』, but on this time’s stage, she feels like a teasable character with an abundance of emotions. It’s a little interesting to see that she doesn’t only get soft in front of Riko-sensei, but that 『her poker face breaks down in front of Saeki Sayaka』. A medium-sized dog overflowing with love for Riko-sensei. MiyaRiko has tremendous mass.
Riko-sensei: She appears a great number of times and seems to have the role of bringing the scenes together. She was also in the student council room after the school trip, but…… did she need to be there? We have MiyaRiko, but there might be Riko-sensei fans……?
Ichigaya-paisen: His articulation was a little rough the first time, but got better the second time. I want him to wound Nanami Touko in an easy but clear manner.
President Kuze and others: Stable. I can watch with peace of mind.
Koyomi: Harusaki-san is really Kanou Koyomi. I hope she will continue to act as the friend who sees Koito Yuu the best and understands her changes the most.
Akari: Akari might be the one walking the most different route from the original work. A representative of love and heartbreak in general. I hope she will get along well with Doujima-kun in this route as well. I think there was a part of Koito-san that longed for Akari’s dazzle, so I hope she will stay by her side without losing that radiance. It shows both cheerfulness and sadness.
Maki-kun: As I wrote earlier, an amazing Maki-kun.
Doujima-kun: Healing. A ray of hope in the student council play.
ManaMido: Super ManaMido. This is the ManaMido I wanted to see. From the sense of distance to the way they talk, ManaMido feels like they’re ManaMido. Thank you.
Saeki Sayaka: A graceful Saeki Sayaka. She rises to her confession. She shows glimpses of childishness in her interactions with Miyako-san, but I want her to show more of it. I want her to plap-pull-pull. Mmm, a pull-pull at least would be great…….
Nanami Touko: Aren’t Koizumi-san’s legs getting longer? An illusion? I think they’ve gotten longer, but…… maybe I’m misremembering. A sly woman with good looks. Surely. But she’s good-looking. Good looks will convince me of everything. It is amazing how she can act out a needy voice, a dark voice, and an honor student’s voice. Her answer to Sayaka’s confession was also very good.
Koito-san: Her composure, they way she tries her best but gets swept up by others, and the bravery she shows when it’s needed. She takes the time to act as Koito Yuu. Reliable. I know she isn’t Koito Yuu, but there’s a part of me that wants to see Kawauchi-san cry. I am confident that if Kawauchi-san cries during curtain call, I will cry. Though even if she doesn’t, I will still cry.

Translation notes:
“There it is” (Kimashita wa) is a phrase that yuri otaku say out of excitement when they see yuri. It originated from Strawberry Panic!, said by Tamao Suzumi.

The episode title 「零れる」 has multiple translations.

One fan translation calls it “Overflowing”.
Seven Seas Entertainment, who licensed the manga in English, calls it “Overflow”.
The various fan and licensed translations for each title are here.

I call it “Spill Out”.

Regarding Saeki Sayaka stage reading comparison

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A comparison of events between the Bloom Into You manga, Regarding Saeki Sayaka light novels, and stage reading.

Please note that this entry assumes the reader is familiar with my series of investigations on nuance differences: light novel, manga.
I believe the adapted material generally matches better with my interpretations, and there are lines in the light novels which the publisher removed.
This entry will include some suggested translations for lines in volume 2 of the light novel, because I have not compiled my findings about it. 少なくとも、この時はまだ。
I also translated parts of the stage reading here.

The stage reading adapts the events up to the start of Sayaka’s third year of high school.
Passages with classes, running, Sayaka’s grandmother, books, or gossip are mostly skipped.
Some of Sayaka’s narration and thoughts are incorporated into conversations.
Occasionally, lines are spoken by other characters.

The opening passage is adapted mostly as is.
After Sayaka describes her assumptions, skip to the passage where she practices writing her name.
Sayaka talks about how she might be arrogant, then describes the girl she met at swimming class.
Skip to the passage where the girl describes what happens to her when she sees Sayaka.
Skip to the passage where Sayaka follows the girl into the pool after class.
Description of the girl’s cheeks being tinged with red is collected in the underwater scene.
After Sayaka’s heart cracked, skip to the passage where she asks to quit swimming.

Sayaka (storyteller) describes having become a second year in junior high, and what kind of school Tomosumi Girls’ is.
Description of Sayaka’s interactions with Yuzuki since joining the club is collected during their walk to the clubroom.
Sayaka explains what sets are to Yuzuki.
Topic of addressing and being addressed by last name and first name is collected here. Yuzuki says that someday, Sayaka will meet someone like that.
Sayaka (storyteller) describes how they didn’t know each other too well at the time.
Yuzuki personally invites Sayaka to the closing party.
The conversation in the family restaurant is collected in the umbrella sharing scene.
The karaoke scene is adapted mostly as is.
The confession scene is adapted mostly as is.
After Sayaka hugged her legs tightly, skip to the passage where she calls Yuzuki out to the courtyard.
The next few days of meeting with Yuzuki are collected in one scene.
Deeper into October, the conversation during lunch break is collected after school.
Yuzuki checks with Sayaka if she doesn’t have a cell phone.
Sayaka answers when Yuzuki calls, and asks her what she would have done if another family member had answered.
The kiss scene is adapted mostly as is.
The passage where Sayaka resolves to go see Yuzuki is adapted mostly as is.
Sayaka realizes that maybe Yuzuki wasn’t the same as her.
The passage where Yuzuki calls Sayaka’s cell phone is adapted mostly as is.
Passages leading to the second term are condensed:

The one who hung up was Senpai.

After that, I heard her voice in May and June, but I didn’t see her.

Senpai is going out of sight.

I can’t digest this one-sided loneliness, and it tangles inside my body like a long thread.
Her reaction when I went to see her in the spring has made me cowardly.
Afraid of facing the same results as then, a calendar full of nothing but openings flaps away in my mind, even though there is no wind.

What does Senpai want from me right now?

There were more and more days when I was the one to hang up.

The seasons changed. September.

The phone call from summer is collected here.
The passage where Yuzuki dumps Sayaka is adapted mostly as is.
Skip to the passages that overlap with episode 12 of the manga.
Return to the description of Yuzuki’s yearning, then skip to the entrance ceremony scene.

Description of Sayaka approaching Touko is collected during the pause in their first conversation.
Sayaka (storyteller) describes her attraction to Touko for the third time during their walk to the student council room:

Looking at her up close, I can’t find any faults. Especially with her appearance—she is so well-groomed that it sets my mind swirling.

She might be my ideal type.

The student council scene is adapted mostly as is.
Manaka says how her own lunch is packed so tidily.
Touko turns down Midori’s invitation because she has already eaten.
Manaka asks Sayaka to try calling out to Touko.
After the lunch scene, skip most of the passages where Manaka and Midori appear.
Sayaka (storyteller) describes the results of the new student test, and her feelings towards Touko.
The passage where Sayaka and Touko start calling each other by their first names is adapted mostly as is.
Sayaka checks with Touko if Ōgaki isn’t in their class.
The rest of the scene is adapted mostly as is.
A removed line is adapted and the list is shortened:

Without breaking her intent, Touko moves a step ahead and speaks.

It’s nothing.

She starts walking faster, leaving her words behind.

All of Nanami Touko.

There is so much I can’t see, that she won’t show—her weakness, dirtiness, baseness, inferiority complex, jealousy, trauma, and the many other dark things.

Kuze gives advice that would probably make Touko and Sayaka’s next year easier.
After Sayaka explains why she left Tomosumi, skip to the passage where Touko asks to talk about something.
After Sayaka agrees to help Touko with the play, skip to the passage where Kuze turns down the proposal.
Kuze is in the student council room and concludes the conversation by leaving for kendo club.
Sayaka hopes for more than one year to stay close to Touko.
A removed line is adapted:

I feel relief when I can see what I need to do.

Skip to the passage where Touko asks Sayaka if she has any dreams.
Sayaka wonders why Touko is aiming for the success of the play.
The literature club scene is adapted mostly as is.
Sayaka wonders if the play is also related to Touko’s sister.
Sayaka watches Touko as she goes about her student council work as usual.
The passage where Sayaka turns down a boy is a little different:

Just an example. What if the face I had now was a fake, like a way to hide my past?

It’s not like what you were back then denies what you are now. The you here and now is everything. If you’re beautiful now, I like you now. That’s all I can say.

Thank you.
I like you now, huh…

Left alone, I feel the opening as the wind hits my fingertips.

On the way home, Touko asks if she can visit Sayaka’s house tomorrow.
The passage where Touko tries to play with the cat is adapted mostly as is.

It’s neat, and you make sure not to ruin that…which you unconsciously work hard to do so. I love that diligence of yours.

Her lighthearted love shot through me like an arrow.
The act of maintaining what could be seen on the outside.
I suppose that’s what Touko is doing, too.
Perhaps she sees something like herself in me and feels a sense of affinity.
It is natural that I would work hard to make my wishes come true.

Touko asks Sayaka if it’s true that she received a confession, like a reverse of episode 1 of the manga.
Touko’s retelling of the latest confession she received is adapted mostly as is.

When I heard that, I thought it was unlikely to ever happen.

Touko’s casual denial was like a blade that rent my lips from corner to corner.

Sayaka’s monologue about one’s self (during the cultural festival’s musical performance) is collected here.

When a person is born, they have only their self to live life with.

Return to Sayaka’s invitation to the cultural festival, then skip to the monologue during the musical performance again.

That was the choice I made.
What Touko wants is a good friend.
To stay by Touko’s side and someday connect with her, I gave that answer.
I will never forget that I chose that path back then.
I must never forget.

Most of the second interlude of the manga is collected here.
Topic of a hypothetical partner whom Touko would lay herself bare to is collected here.

Sayaka describes having become a second year, and who the one currently by Nanami Touko’s side is.
Sayaka describes how the rich nature is bathed in sunshine, and how she began to take more interest in Yuu.
The conversation between Yuu and Sayaka is adapted mostly as is.
Sayaka says she is also not that confident in deciding her own way of life.
The passage where Touko chooses Yuu to be her campaign manager overlaps with episode 2 of the manga.
A removed line is adapted:

There was even a hint of luster to it.

The reference room scene in episode 7 of the manga is collected here.
A monologue in the second interlude of the manga is collected here.
The passage where Touko calls Yuu by her first name overlaps with episode 12 of the manga.
Sayaka describes the premise of the story that Koyomi wrote for the student council play, and how the character seems to represent Touko herself.
Most of episode 26 of the manga is collected here.
The latter half of episode 31 of the manga is collected here.
Sayaka describes understanding Touko’s acceptance of Yuu’s efforts, and that Touko had changed.
A monologue in episode 26 of the manga is collected here.
Skip to the passage that overlaps with episode 37 of the manga.

Sayaka tells Touko that she loves all of her.

Sayaka’s “I love all of you, Touko” contrasts with Yuzuki’s “Can’t I say all of you?”

Some removed lines are adapted:

Touko has changed. As Koito-san wished, she had changed.
They were very far away from me. Just like looking up at the stars.

Most of episode 38 of the manga is collected here.

So, how do I put it… You will keep being the you I love. A word of trust, perhaps.

Trust…

It’s a selfish trust, though.

Return to the passage where Sayaka gives Yuu advice.
A removed line is adapted:

But then, you finally realize that the distance changing is the same for them.

Skip to the passage where Sayaka and Touko look at the class lists.

By meeting Koito-san, Touko was able to face intersections.
She became able to accept others trying to join their path with hers.
My time to stay close to her on a parallel path was lost at that moment.
I had wished.
I had hoped that I could keep walking alongside Touko.
In the end, it didn’t come true.
Even so, I want to think that I did intersect paths with Touko, if only for a moment.
Even if we went in separate directions afterward.
The spring sunshine and the cherry blossom petals intermingle, and something warm starts to touch my cheeks.

I love you, Touko.

Regarding Saeki Sayaka stage reading PV

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This is a personal translation of the Bloom Into You: Regarding Saeki Sayaka stage reading PV (digest video).

Saeki Sayaka.
That is my name. We hadn’t learned any of these kanji in the lower grades of elementary school, but I had been practicing them myself since then.
What does this name mean? Now that I knew the shapes, I wanted to know their meanings, so I looked them up.

“I love you.”
The first confession I received in my life was straightforward.
She told me she loved me.
I understood belatedly, as though a thread had been caught in the back of my head.
The fact that something besides the sunset was coloring Senpai’s cheeks showed what she meant by love.
I hesitate to make even the slightest sound.
At first, I thought it was strange.
Because Senpai is a girl, and so am I.

“Could you…give me a little time to think it over?”
“Mm.”
“Well then…”
It was the first time I had been confessed to.
I didn’t even know what to think about it.
And, far in the future, I would look back on this by chance.
The fact that the first person who confessed to me was a girl might have been a hint at my destiny.

Nanami Touko. She possesses beautiful black hair and eyes that seem to be tinged with blue in the right light.
When I look at her again up close, my emotions are completely steeped in Nanami Touko. And I am being drawn in.
The day after entering high school, I was already soaring.

“Sayaka, it’s only you who calls everyone by their last name. Right?”
“Hahaa.”
“What?”
“So you’re not used to calling people by their first names.”
“So that’s how it is.”
“That’s not true.”
“Then try calling out to Touko over there.”
“Go on.”
“Um, To—”
“Hm?”
“Nothing.”
“Really?”
I’ll admit it honestly, I fell in love with Nanami Touko at first sight.
I’ve been walking on air ever since, but my calmer side will come through soon.
Though I’ve been so attracted to her appearance that I threw away many of my worries, Nanami Touko and I are…
both girls.

“Nanami-senpai, have you always called Koito-san by her first name?”
“I thought it wouldn’t hurt to be a bit friendlier, you know?”
I strive to compose myself as I breathe in slowly. Then, I dive deep into hiding.
Though there isn’t anything within myself that I don’t understand, the things I don’t understand about those around me are increasing.
Why is it Koito-san? I’ve never seen Touko get that close to someone before. It’s almost as if…

“I love you more than I thought I would. I love all of you, Touko.”

I had hoped that I could keep walking alongside Touko.
In the end, it didn’t come true.
Even so, I want to think that I did intersect paths with Touko, if only for a moment.
Even if we went in separate directions afterward.

Regarding Saeki Sayaka stage reading talk events

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This is a partial translation of ねこさぶ’s entries 1, 2. Please check them out for more details.

talk events notes
※ Contains spoilers about the content and production of the stage reading.

【Izaki-san talk segment】
・ About his impressions of 「Bloom Into You」
At the start, when I watched the first stage play performances, I thought 「this is very interesting」.
It was a genre I had never touched before,
but it was drawn very delicately and I felt moved after I finished watching it.

After that, when I saw the anime and read the original manga,
I thought 「ah, how are these people (the cast of the first performances) just like the characters?」

・ About the role of Maki
Because there is little information content on Maki-kun, I perform with the image of 「Maki as seen by Sayaka」 on the stage.

【About Maki-kun, played by Izaki-san】
・ Kawauchi-san
As Koito, I feel as though he’s already seen through everything.

Tsuji 「Speaking of Maki-kun, I like the batting center scene in the original work.」
Izaki 「He says some pretty amazing things (to Yuu), doesn’t he.」
Tsuji 「I hope we can do that scene someday too.」

【Nanaki-san talk segment】
・ About the role of Yuzuki-senpai
At the start, when I asked the manager what kind of role I was going to play, they said 「an unpleasant woman」. (laughs)
Then I did a search (on Yuzuki-senpai) and found a lot of things like 「she’s unforgivable」 and went “ah, so that’s the kind of role I will play.”

I’m still not sure what face to show when standing there during curtain call… (laughs)
so the bows at the end are with a feeling of apology to everyone…
Tsuji 「Those are bows of apology? lol」
Kawauchi 「Like an apology press conference.」

Still, with Kuzuki-san, who is in charge of directing,
she said 「she certainly is an unpleasant woman, but on the stage, it would be nice if we could bring (the image of the role) to the point where it’s hard to hate her」.

・ Preparing for the role of Yuzuki-senpai
In order to give Yuzuki-senpai the feeling of 「in love with love」,
I did some searching on the Internet since I wasn’t that sure what 「in love with love」 meant.

【About Yuzuki-senpai, played by Nanaki-san】
Kawauchi 「I really like her. She certainly looks cruel from Sayaka’s point of view, but Yuzuki-senpai herself is very innocent, carefree, and pure.
That’s why I end up thinking “how adorable,” when she’s with Sayaka and enjoying herself.」
Koizumi 「You can’t help but think “so cute!”」

【About the two storytellers】
・ Producer Tsuji
The original novels are written entirely from Sayaka’s point of view,
so if we did it normally, Isobe-san would be talking throughout the stage play.
But that would put too much work on her, and I thought it might be better for the audience to be able to look at different places and hear different voices, so I went with this storytelling style.

・ Kawauchi-san
Kuzuki-san first said, 「These two are fairies of Sayaka’s heart」.
There are times when I get close to Sayaka’s heart and express her feelings, and times when I distance myself a little and describe the scene.
It was difficult to get the sense of distance, of how close I should be to Sayaka at each moment, but I managed to grasp it as I went along.
I began to understand how much of Sayaka’s feelings were reflected in the lines that describe the scene.

・ Izaki-san
I thought it was interesting (to have storytellers), because in a normal stage play the story progresses only through conversations, and there are no lines that would become the stage directions of a script.

Izaki 「Kuzuki-san told me I was “a little too fairy.” (laughs) What does “too fairy” mean??」
Kawauchi 「It was the opposite for me. She told me I was “a little too human.” (laughs)」

【Although it’s called a stage reading, it’s thoroughly a stage play】
The cast members have the script just about memorized and practically perform without looking at their hands.

・ Izaki-san
First, Kuzuki-san said 「this is a stage reading, but please memorize the script」.
At the time, I thought it was a figure of speech, like 「ah, please do it with that much spirit」 and did so.
When the time came for rehearsals, Kuzuki-san said (in a serious tone) 「um, please memorize the script」.
The next day was a day off from rehearsals, so everyone spent it working hard to memorize the script. (laughs)

Koizumi 「Because it’s a stage reading, I thought it would be in the style of looking at the script.」
Tsuji 「Kuzuki-san and I weren’t planning to do that from the start. lol」

【Ways of using the script at hand】
・ Kawauchi-san
I already think of the script at hand as a prop.
As a storyteller, it feels like I’m reading Sayaka’s diary, with the color of the books that the two storytellers hold being the same as Sayaka’s book.

・ Nanaki-san
When I memorized the whole script, I went 「what is the meaning of this book…」,
but I try to use the book to produce what I would normally do with my hands,
such as covering my mouth with the book like how Maki-kun does.

・ Koizumi-san
Sometimes I use it as a normal book. When I read the script of the student council play, I do it while looking down at the book.

【Infection control in the rehearsal room】
It was essential to wear a mask and a face shield during rehearsals.
・ Koizumi-san
When rehearsing with a mask on, there is little information because only the other person’s eyes can be seen.
When the time finally came to perform in front of an audience (with the mask off), I went “ah, so they had this expression.”

In the rehearsal room, there were long sofas placed against the wall,
and we had to sit at a distance from each other.
We also ate lunch apart.

【Atmosphere of the YagaKimi stage play company】
Notably, the main three (Isobe-san, Koizumi-san, and Kawauchi-san) are noisy. They talk all the time.

Nanaki 「They’re very amusing. It feels as though there are two boke and one tsukkomi. Misato-chan’s tsukkomi are quick.」
Koizumi 「But her tsukkomi are really sharp.」

Kawauchi-san talks to herself all the time.
She even talked to the flowers throughout the ikebana experience.
Kawauchi 「”Maybe you should come this way a little more,” “ah, I can’t see you if you’re over there,” things like that. I get uneasy if I don’t talk to someone. And then Karin-chan would say 「shut up~」 (laughs)」
Koizumi 「You would always talk to yourself in the rehearsal room. But I’ve gotten used to it.」
Kawauchi 「You know, maybe you should be a little more concerned.」
Koizumi 「It’s probably never going to go away.」
Kawauchi 「Oh.」
Koizumi 「Yeah, stay the way you are.」
Tsuji 「”Stay the way you are,” she said. lol」

【Harusaki-san talk segment】
・ Harusaki-san, who came to watch SaSaTsu yesterday
I’d heard that it’s roughly a story like this (about SaSaTsu), but as I watched without knowing the details,
my chest tightened up so much and I was crying throughout the viewing.

When I heard the same BGM as the first performances, it brought back fond memories of the time I was on standby backstage.

【About the play that requires keeping a distance】
・ Koizumi-san
It would have been nice if we could do it without the distance, such as holding hands or sitting next to each other (in the scenes with Sayaka). I do my best to make it look like we’re close even with the distance.

・ Nanaki-san
I feel there are some things that can be seen better because of the distance. In the confession scene with Sayaka, the distance makes the act of reaching out for the other person look more beautiful.

・ Kawauchi-san
When they hold hands, they do each movement carefully and step by step (to make it look like they are connected), so that the audience can be able to feel a little thrill watching along.

Harusaki-san
I thought the production was very easy to understand and gentle (watching from the audience side). It goes well with the work and makes it more precious.
When the two were holding hands and faced this way at the same time, I understood with an “ah, right now they are close and facing each other. Emo…”

・ Producer Tsuji
By having the two face forward, the audience can see both of their expressions (full face). (something that cannot be done in a production where they normally face each other and hold hands)
This may have helped create a sense of distance between Sayaka and Yuzuki-senpai, and between Sayaka and Touko.
We did this for infection control, but even under normal circumstances, we still might have made a production (with the distance) like this.
It was because of SaSaTsu that I thought such a production might be possible.

【Isobe-san during curtain call】
Koizumi 「During curtain call, she becomes the Isobe Karin who works hard to become Saeki Sayaka.」
Tsuji 「She (Isobe-san) goes back to her old self as soon as it’s over. During dress rehearsal, she became too much Isobe Karin, and I asked her to stay a little more Sayaka. (laughs)」

Translation notes:
The original text mistakenly says Kuzuki Akira is in charge of the script. The correct person is Suzuki Tomoharu.

Flowers in Bloom Into You

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Nakatani said that when drawing flowers for splash pages or illustrations, she tries to make use of the language of flowers, while taking into account its appearance and the sense of the season.
Since flowers have various meanings, I will try to guess which ones are used and comment about them.

volume 1 episode 3
rhododendron
“joys of love”

Is it okay to assume these are red rhododendrons? It would be nice to see illustrations in color.
There is a chance of grayanotoxin poisoning if you ingest this flower’s nectar (and honey made from the nectar).
Yuu wants to know love and its joys, and Touko is content with loving someone without being loved in return.

volume 2 episode X
chrysanthemum
“sincerity” “truth”

White chrysanthemums are the standard flower offered when mourning. They also appear in volume 5 episode 23.
Touko sincerely believes that she has to take the place of Mio, and she hides her “true” self from others.
Come to think of it, before Touko hid behind the self that imitates Mio, she hid behind Mio…

volume 3 episode 12
rowan
“prudence” “I watch over you”

Rowans make good firewood and charcoal. Sayaka sometimes has episode titles with a fire theme.
Sayaka has the prudence to refrain from confessing because Touko isn’t in a state to accept anyone’s affection.
She continues to swallow her feelings and words, and support Touko as her closest friend.

volume 3 episode 13
hydrangea
“harmonious company”1

In the anime, Director Katō associates pink hydrangeas with Yuu, blue hydrangeas with Touko, and white hydrangeas with Sayaka. The meanings are “lively woman”, “persevering love”, and “tolerance”, respectively. (Since the hydrangeas are uncolored in the manga, let’s talk about another meaning instead.)
Yuu encourages Akari to share her umbrella with Ōgaki, and doesn’t want to get in the way of Rei’s date with Hiro.
Then Touko shares her umbrella with Yuu and they have fun walking together.

volume 4 episode 20
morning glory
“bonds of affection”

Morning glories and bindweeds seem to refer to the same types of plants in English, though they are different in Japanese.
The bonds of affection tug Sayaka, Touko, and Yuu in various directions from when they prepare for bathing to when they fall asleep.
It’s interesting how Yuu, before heading into the bath, takes a good look at Touko (to the point it’s a panel break).

volume 6 episodes 30-31
gerbera
“hope”

Perhaps Koyomi also looked up the language of flowers when writing the script.
The nurse first gave the girl hope by suggesting “How about asking [the visitors] to tell you about yourself?”
It goes without saying, the nurse helps the girl reach the conclusion “I’ll be okay now. Because I can become myself.”

volume 7 episodes 37-38
maple
“beautiful changes”

Maple leaves are not flowers, but this meaning is derived from the leaves changing colors in the autumn.
In this case, I think it is “beautiful despite changes” rather than “changes are beautiful”.
Sayaka’s impression of Touko has changed, but Touko is still beautiful to her. To Sayaka, “love” is a word of trust.

References: 花言葉事典, はなたま, and GreenSnap.

1 Unlike the other meanings which are straightforward translations, “harmonious company” is something I came up with from 団らん and 和気あいあい.

What does 「Yagate Kimi ni Naru」 mean?

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This is a translation of しろ’s entry.

I like 『Yagate Kimi ni Naru』1 a lot. I’ve already read it at least a few dozen times, but I’ve decided to spend my life reading it from the moment I finished reading episode 45 in the magazine, so I think I’ll be reading it hundreds/thousands of times in the future as long as I live.

I’ll talk about how wonderfully beautiful this manga is and how much it means to me on another occasion; this time I would like to talk about the meanings of this seemingly abstruse title. Note that the following descriptions in parentheses without the book title are all quotations from Nakatani Nio’s 『Yagate Kimi ni Naru』 volumes 1~8 (2015~2019 KADOKAWA).

An interpretation that comes to mind during the course of reading this story is that the person known as Nanami Touko becomes able to recognize the part that she thinks is acting like Mio is also herself, and with all 45 episodes 「tsuini Touko ni natta」2. Of course, YagaKimi also includes the part 「what is one’s (real) self」, and I think there is a way to read it like this. However, I think the themes that encompass the entire work are condensed in 「yagate kimi ni naru」.
After stating what I think about three points – ① the themes of this work ② the characters whom 「kimi」3 points to ③ the expression 「yagate ~ ni naru」, I will present my opinion about the meaning of 「yagate kimi ni naru」.

1. the themes of this work – What is 「love」4? What are romantic feelings? Is 「love」 a bind for the other party’s personality?

Why can I say that these are the themes? Because in this story, the protagonist Koito Yuu who doesn’t know love walks through a process of making choices and calls it 「koi」5.

And at the same time, the heroine Nanami Touko states that 「『love』 is a word that binds」6 (aforecited volume 2 episode X), and that thinking changes through her interactions with Yuu and Saeki Sayaka. In other words, the story asks what 「love」 is through the romance between the protagonist and the heroine. And then, Yuu and Touko present their own answers to the themes.

・Yuu’s change and 「love」

But my 「love」 probably isn’t like that
it’s something I chose and reached out for myself (volume 8 page 25)

I’ve decided… that you are my special one (volume 8 page 27)

In other words, for Yuu, 「love」 is a series of choices based on the intent to stay by Touko’s side, and the process of making those intermittent choices. In the beginning, Yuu who didn’t get love even called Touko who knew it 「sly」7 (volume 1 page 100), and in episode 40 she finally perceived and understood 「love」.

・Touko’s change and love

「Yuu, I love you」
These are words that bind
「Stay the way you are, okay」
Please, Yuu… don’t come to love me
(volume 2 page 172)

As can be seen from volume 2 episode X, Touko thinks that she was recognized by society after she began to act like 「Mio」, and that all the 「love」 to herself are words directed towards the 「Mio」 that she acted like. To Touko, 「love」 is a word that binds, and a strong immobilizing demand for her to stay like 「Nanami Mio」. Yuu tells her that the part of her who makes such efforts is also her own, and Touko becomes aware of it herself.

And then, Sayaka tells her that 「love」 is a word of trust, that is, a trust that the personality has a certain degree of consistency, and Touko wants Yuu to keep 「loving」 her.

「『Love』 wasn’t a word that binds you to 『stay the way you are』」
「It’s okay to change」
(volume 8 page 16)

From wanting Yuu to keep the personality that would not come to 「love」 her, to wanting Yuu who now had come to love her. In other words, through Touko’s experiences, it is shown that 「love」 is not a bind for personality, but an acceptance of changes in personality.

Yuu: doesn’t have 「love」 → comes to recognize 「love」.
Touko: refuses (Yuu’s) 「love」 → comes to affirm and want 「love」.
It can be said that two’s changes were drawn as such.

And of course, as I stated at the beginning, it can be said about Touko that becoming able to accept the character she thought she gained to act like Mio (academically and athletically accomplished, sociable) as part of herself is also a major change.

Yuu, who didn’t get 「love」 and wanted to get it, and Touko, who was afraid of love, interacted with each other and became a new Touko and a new Yuu.

To summarize thus far, this work is a story that depicts 「tsuini watashi ni natta」8.

2. the characters whom 「kimi」 points to

yagate 「kimi」 ni naru – who does 「kimi」 refer to? I think it is both Touko and Yuu. As to why I think so, I would like to note the characters who are called 「kimi」 in the work.

・「kimi」 = Touko
One of the major keys in this work is probably the cultural festival play. Through the protagonist who is in a psychologically similar situation to her own, Touko comes to greatly change her recognition of her 「self」. The play’s title is 「Kimi shika Shiranai」9, which is a title that Yuu came up with.

「We know only you」
「Those feelings are for you, not your sister」
(volume 5 page 161)

In other words, 「kimi」 here is Nanami Touko, resulting in Touko being called 「kimi」 in the work.

・「kimi」 = Yuu
In the work, Nanami Touko calls Yuu 「kimi」 in some places.

「You are the first-year who’s coming to help out today, right?」 (volume 1 page 12)
「You too can properly tell him as it is」 (volume 1 page 37)
「You’re fine the way you are」 (volume 1 page 38)
「Because I seem to be coming to love you」 (volume 1 page 46)
「When I’m with you my heart races. I’ve never felt like this with anyone before」 (volume 1 page 78)
「You always accept me」 (volume 1 page 159)
「You really…」 (volume 2 page 21)
「For me it has to be you, but for you it isn’t like that」 (volume 2 page 114)
「It’s comfortable to return to just myself in front of you, but」 (volume 2 page 157)
「Stay the way you are, okay」 (volume 2 pages 166, 172)

「Kimi ha sonomama de ite ne」10 is Touko’s feelings of wanting to immobilize Yuu’s personality via 「love」, and refusing change. If 「yagate kimi ni naru」 is an acceptance and affirmation of the other party’s changes, then 「kimi ha sonomama de ite ne」 is surely an antonym. Since 「kimi」 in 「kimi ha sonomama de ite ne」 refers to Yuu, it is fine to think that 「kimi」 in 「yagate kimi ni naru」 also refers to Koito Yuu.

(This part is a digression, but…… the name Koito Yuu can be thought to come from 「koi to iu」11, but it can also be thought of as 「koi to YOU」12. After volume 2, Touko does not call Yuu 「kimi」. A common interpretation is to think that upon entering the unequal non-aggression treaty with conditional most favored nation treatment13, Yuu became such a close and special existence to Touko that it became unnatural for Touko to call Yuu by the pronoun 「kimi」. However, since Touko began to call her 「Yuu」 from volume 3 onwards, it is also possible to interpret that to be read as 「You」 in place of 「kimi」.)

・the second person 「kimi」
Under what kind of circumstances can the pronoun 「kimi」 be established? It is when there are two specific people, and one person calls the other.

「Kimi」 is the second person pronoun that calls the other party who stays by one’s side. 「Kimi」 cannot be established by one person, and 「kimi」 cannot be established unless someone recognizes and calls the other party.

To stay by the side of the other party who is changing and becoming a new 「watashi」14, and continue to call them 「kimi」. To continue to make the choice to stay by their side. I think the title is not 「watashi」 but 「kimi」 because it has the meaning of the other side accepting one side’s changes, and making the choice to stay by their side.

3. 「yagate ~ ni naru」 which points to the future

If episode 45 ended with the fact that Yuu became a new Yuu and Touko became a new Touko, the words to show this state should be 「tsuini kimi ni natta」15.

However, the title of this work is 「yagate kimi ni naru」.

「yagate」: By and by. Before long. Shortly. Soon. Presently.
(from Kōjien 6th edition)16

「Yagate」 is a word that points to looking at the future from the present. When looking at episodes 1 through 44, the two have constantly been existences who 「yagate Yuu/Touko ni naru」, and from their respective points of view, the other is an existence who 「yagate kimi ni naru」.

Even those days and moments that were special are now far behind. (volume 8 page 188)

In episode 45, it is depicted that several years have passed since episode 44. The river area where they often talked about important things has now become a place where they talk about everyday things such as bathtub cleaner. Even after episode 44, the two were shown to continue becoming newer selves, looking at and accepting each other.

The story ends with the two walking hand in hand under the stars and street lights. Even after episode 45, they will continue to change and accept those changes. Even though the story has ended, they are existences who will 「yagate kimi ni naru」 to each other.

「yagate kimi ni naru」 is about Yuu and Touko, who have changed in the past, change in present, and then will change in future after episode 45 to become 「watashi」, continuing to accept the other party and call them 「kimi」 – such is their voyage, and surely what their 「love」 means.

Translation notes:
1「Yagate Kimi ni Naru」 「やがて君になる」 is the Japanese title of the work. Information about the English title can be read here.
2「tsuini Touko ni natta」 「ついに燈子になった」 rougly translates to “finally became Touko”.
3「kimi」 「君」 is a second person pronoun. “You”. In Japanese, it is more common to address others by their name and/or title than to use a second person pronoun.
4「love」 「loving」 「好き」 is closer in meaning to “liking” or “fondness”. Commentary about the story’s usage of this word can be read here.
5「koi」 「恋」 is “love” that is associated with yearning or passion. It is roughly equivalent to romantic love.
6The original text uses 「好き」は束縛の言葉 (“love” is a word of binding) instead of 「好き」は束縛する言葉 (“love” is a word that binds).
7「sly」 「ずるい」 is often translated as “not fair” or “unfair”. I prefer “sly” or “sneaky”, but these words are basically interchangeable.
8「tsuini watashi ni natta」 「ついに　わたし／私　に　なった」 roughly translates to “finally became myself”.
9「Kimi shika Shiranai」 「君しか知らない」 is often translated as “I Only Know You”. I prefer “Know Only You” or “Only You Know”, depending on the context.
10「Kimi ha sonomama de ite ne」 「君はそのままでいてね」 is translated as “stay the way you are, okay” in the blockquote. I chose to transliterate it afterwards to draw attention to “kimi”.
11「koi to iu」 「恋と言う」 can be translated a variety of ways: “to say love”, “to be called love”, “in the shape of love”, etc.
12「koi to YOU」 「恋とYOU」 has “YOU” capitalized to indicate that it is in English. It roughly translates to “love and you”.
13unequal non-aggression treaty with conditional most favored nation treatment 最恵国待遇条件付き不平等不可侵条約 is an analogy of the things Touko asked from Yuu.
14「watashi」 「私／わたし」 「わたし／私」 is a first person pronoun. “I”, “me”. Yuu uses わたし and Touko uses 私, both of which are transliterated as “watashi”.
15「tsuini kimi ni natta」 「ついに　君　に　なった」 roughly translates to “finally became yourself”.
16Kōjien 広辞苑 is a major Japanese dictionary. Please understand that my translation of its definitions are approximate.