Previous translations (These past weeks I reread my older translations a bit. IIRC the only thing I corrected is in Itou Kanae’s interview, I didn’t get at first that she says she was told Akaii Meganee is an AI. Not sure if it was about Pretty Rhythm’s Akaii Meganee or PriPara’s Akaii Meganee though, as the one in Pretty Rhythm doesn’t feel like an AI. While it’s true she never gets out of Prism World, she makes her own decisions like purposely avoiding telling Shou and Yun Su things about Symphonia designs in DMF, or getting angry at Momo for forgetting things in RL)
My one month late Eid present for everyone. I finished translating this some weeks ago, but I’m really busy these days so I didn’t have the time to finish proofreading and editing till now.
(It took me 10h40minutes to translate this interview. Plus 7h30 of editing,proofreading, googling information and watching episodes again to better remember what they’re talking about and take screenshots. It’s 8 pages and around 13 700 characters. I did a quick comparison with an example: Madan no Ou volume 13 got an average of 297 characters per page and is around 480 pages without counting the illustrations and titles. This means it has around 142 560 characters. Meaning it’d take me 104 hours to translate it all. Let’s say 70 hours because it won’t be as complicated as translating a dialogue between 3 people. I don’t feel like getting money by picking a new LN that’s popular and ask donations to translate it, but even if I wanted to, it’d still take me too much time. I still have a long way to go. I’m not saying all this to complain btw, the main reason I do these translations is for myself.)You should read Madan no Ou it’s very good.
This time Iuchi san is here too compared to the interview in the Rainbow Live Guidebook. So it’s a dialogue with 4 people if you count the interviewer. I had to reformulate a lot so it makes sense in English, as the Japanese way of speaking is different. And I needed to be careful to keep the original nuances, and to not make confusing sentences.
I wouldn’t have this problem if I just summarized things instead of translating the dialogue itself, but I think it’s much more fun reading a dialogue. And it has it’s advantages too, when they have fun chatting, I can just show it directly, instead of writing things like “then, when they talked about Rinne at this point, they laughed because xx said that, and xx answered that, and xx also said that”
I tried putting colors, thinking it may be easier to read that way. If it isn’t, I’m genuinely sorry. Copypaste it on word and remove formatting. I won’t spend time removing the colors now that I’ve added them. (I edited in colors in some of the old interviews posts too)
I put red for Tsubota Fumi because she’s the one who wrote most of Bell, and purple for Iuchi Shuji because he’s the one who wrote most of Ito and Kouji.
The big titles are the titles of each part of the interview. Those are in every interviews, but I usually don’t include them because they just paraphrase what they say. Here, I included them to indicate they will change subjects. Unlike other interviews, they change topics without the interviewer prompting them.
Staff presentation: (I’ve never been good with staff titles and such so sorry if I got something wrong. I checked multiple times so it should be alright though.)
Hishida Masakazu is Pretty Rhythm’s director.
Iuchi Shuji worked as scriptwriter on all three seasons, and on series composition in DMF and RL. Meaning he wrote the core of the story/scripts with the director, Akao Deko and Tsubota Fumi. Akao Deko was the main series compositor above Iuchi Shuji on Aurora Dream and Dear My Future. But for Rainbow Live, she only wrote the songs’ lyrics, and Tsubota Fumi did series composition with him instead.
Tsubota Fumi worked as scriptwriter on Aurora Dream and Dear My Future and as series composition on Rainbow Live. Tsubota Fumi used to be in a theater troupe, writing theater pieces before starting to work as an anime script writer. It’s thanks to her they got the idea to make Grateful Symphonia into a theater piece, and she wrote all the scripts of Dear My Future from episode 47 to 51. She still works on theater pieces, drama and live action shows from time to time.
I also included the small storyboard excerpts present in the interview, the photos of the trio, and the same episode screenshots as the ones in the interview,+ a few more. I tried to put them in the same locations as in the book too.
My own comments are under parenthesis.
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Nekketsu Nikki 