Translations master list

Since most of the front page was taken up by translation projects, I figured it would be best to make a master list sticky post instead of having each of the translation posts be a sticky. Here’s the projects I’ve worked on and their status:

The Surprise of Haruhi Suzumiya:
Taken down due to licensing. Yen Press has released some very good translations and they should be supported. Post

The Untold Story of Haruhi Suzumiya (includes Rainy Day):
. Post

The Observation of Haruhi Suzumiya: Official Fanbook (Novel fanbook):
. Post

Someday in the Rain (Original script published in 2006):
. Post

The Disappearance of Haruhi Suzumiya Official Guidebook:
Finished (as much as I’m willing to do)  Post

Hanairo Notebooks:
Taken down due to licensing from NISA. Two very good releases out and they should be supported.

Nagaru Tanigawa interview from the June 2003  The Sneaker
Finished Post

Chuunibyou Demo Koi ga Shitai! (volumes 1 & 2)
Finished (?) Novel 1 – Finished/ Novel 2 – Finished

Nagaru Tanigawa/Noizi Itou discussion from the February 2006 The Sneaker
Finished Post

Chuunibyou Demo Koi ga Shitai! Episode comments
Completed! Posts: Pre-air/1/2/3/4/5/6/7/8/9/10/11/12/Final Cast Comments

Tamako Market Preview Interview:
Finished Post

Hyouka Episode comments
Finished! Posts: 1-2/3-4/5-6/7-8/9-10/11-12/13-14/15-16/17-18/19-20/21-22

Haruhi Suzumiya short story Random Numbers
Finished Post

2011 Japan Cultural Affairs Department Kyoto Art Festival – KyoAni roundtable
Finished Post

Free! Director Hiroko Utsumi x Character Designer Futoshi Nishiya interview
Finished! Post 1/Post 2

Chuunibyou Demo Koi ga Shitai! Movie/S2 Director Tatsuya Ishihara interviews
Finished! Non-Spoilers/Spoilers Cloud G

Chuunibyou Demo Koi ga Shitai! S2 magazine translations
Finished! Animage 12/13Animedia 01/14

CTFK Stage Event Panels translations
Complete! Directors Dialogue/Futoshi Nishiya (Free!)/Producers Discussion

Free! Official Fanbook Interviews
Abandoned! Director Utsumi

I’ll be adding more as more projects come along. I’ve got some ideas, but I’ll rule out Haruhi Theater as there’s already good translations available for it.

I’m done translating things at this point in time (April 1, 2014). No requests will be honored at this point. This stance is unlikely to change. Thank you to everyone who read and supported me, but I’m done. Later.

Tamako Love Story/Director Naoko Yamada interview: Media Arts Festival ver

The Cultural Media Arts Festival aims to display pieces of art from canvas art, entertainment, animation, and manga categories. In each category, works are chosen to win “grand prize”, “superior prize”, and “newcomer prize” awards with an eye towards the current cultural trends. In the 18th Cultural Media Arts Festival, the popular anime film Tamako Love Story and its director, Naoko Yamada, won a ”newcomer prize” in the animation category. The film, a sequel to the TV series Tamako Market, is an orthodox adolescent love story that won acclaim from viewers. With the work/director winning this prize, we ask director Naoko Yamada about the film’s highlights and how she felt upon winning the award.

Interviewer/Writer: Shigeyoshi Okimoto Continue reading

K-On! Movie interview: Director Naoko Yamada and Scriptwriter Reiko Yoshida

HTT Airlines, Flight JL401:

Boarding seat 1-2:

Director Naoko Yamada and Scriptwriter Reiko Yoshida

K-On! The Movie opened on December 3rd, 2011 and grew to be seen by over 1 million viewers in theatres. However, all Director Yamada had planned when she first heard it was being made into a movie were fragments of ideas. How was the movie created from stage zero? Continue reading

K-On! Movie interview: Producer Yoshihisa Nakayama

HTT Airlines, Flight JL401:

Boarding seat 8:

Producer Yoshihisa Nakayama

Nakayama-san, as a producer, watched K-On! The Movie with a serene glance as the other production staff moved forward. We talked with him on how he thought of ways to make the movie a success through promotion and marketing. Continue reading

K-On! Movie interview: B-part Animation Director Miku Kadowaki

HTT Airlines, Flight JL401:

Boarding seat 7:

B part Animation Director Miku Kadowaki

Kadowaki-san was focused on making the girls look romantic at points. She tells stories about how she conveyed her passionate thoughts for the work and the characters here. We speak to her about the highlights of the part she worked on as well as cuts she focused on.


Redrawing images until Yui’s romantic expression was understood

– Please tell us your impressions of the manga when you first read it.

I prepared myself to think it was a manga about light music, but it was really a tea time manga instead! (laughs) I was in a small club that only had girls in it during high school, so I was quite familiar with entertaining yourself in the clubroom.

– Could you tell us about your drawing plans and way of thought regarding the series? Also, what did you talk to director Yamada about during the TV series?

I worked to keep them appearing like girls no matter what with their expressions and gestures. I didn’t want them to just be girlish; I wanted to show them acting like close girl friends as well.  My lecture from director Yamada about Yui’s retreating figure was quite impressive.

– What were your thoughts when you first heard that the series was being made into a movie?

I was astonished. I had no idea what the movie would be about, so my imagination went wild with ideas. “Will they do the university arc…. Ah, would that mean Azusa wouldn’t show up?! What if the entire movie was a concert…..!”


– As you were working on the film, what did you talk to director Yamada about?

During production, we had many discussions over the primary point of a page. Each time I would have her check it, she’d comment like “make it this expression” and discuss the meaning of that cut until I understood their feelings and put that clearly into the drawing. I drew a lot of images.

– What part of the movie were you assigned to work as an animation director?

The B-part. Starting from the scene in the clubroom where they decide what to get Azusa as a gift until their bye-byes to Love Crisis after performing at the conveyer belt sushi restaurant.  The scenery changed often, there were a lot of characters appearing, their suitcases were always with them; I kept adding more and more setting sheets to my desk just to match everything. (laughs)

– Which portions of the movie did you add force into and what portions did you change how the drawings appeared from the TV series?

My drawings have changed from the time the TV series was made, so as a result all the movie’s drawings have changed. Also, I intentionally added more lines (especially on hair). I would sometimes redraw something over and over again until it conveyed that sometimes the girls had a romantic expression on their faces.

– What did you keep in mind while working as an animation director for the movie and what were you focused on?

I was always focused on making my drawings appear as close as can be to (how Horiguchi-san’s drawings look now).  I would frequently sneak over to the key animator’s desks and look at the Chief AD’s correction sheets. Every time I would be shocked and slink back to my own desk thinking “It’s different!” Though due to changing from the time we started working on the movie, I was able to make changes during the key frame check period.

– What are your favorite scene(s) in your part and what scenes did you focus on?

The scene when Yui wakes up in the airplane and looks outside. I wanted to draw her cute, yet looking romantic at the same time. I kept thinking how her hair should get caught in the eyemask. It’s a peaceful movement that the key animator was able to do wonderfully. The cut where Mugi makes a strange face and goes “harrumph” is my favorite of all of them!

One of Kadowaki-san’s favorite scenes is where Yui wakes up and looks outside the airplane window at the sunrise colors. Yui looks more romantic than usual. The disheveled hair also makes her look amorous.

One of Kadowaki-san’s favorite scenes is where Yui wakes up and looks outside the airplane window at the sunrise colors. Yui looks more romantic than usual. The disheveled hair also makes her look amorous.

– What are your favorite scenes outside your part?

Sawa-chan’s flashback scene once the classroom concert gets okayed. Sawa-chan cries having worked so hard to have the girls experience something that was harsh for her. Also I like the scene in the London concert where Yui spots a baby. Babies are so cute!

– Having worked alongside her for three years, what type of director do you see director Yamada being?

She’s the kind who values the atmosphere of a scene. Every time I draw, I think about how best to represent the atmospheric layers outside the image. It’s a lot of pressure. There’s a lot of expressions and gestures that can’t be found in other people’s storyboards. While I think they’re amazing, I’m incredibly envious of her! Also, I think she works hard at finding the cute side of things. (laughs)

– What are your thoughts on the K-On! series, having gone through these three years?

We’ve really gone through three years, haven’t we…. Surely it can’t just be me who feels like we just experienced high school life with the girls. A fumbling around first year. Getting close second year. Teary farewell third year. Thank you for all the fond memories.

– Please give a final message to the fans.

It makes me happy that no matter how many years pass, we can always return to the graduation album. Thank you all for your support!


Miku Kadowaki Animator at Kyoto Animation. Notable works include chief animation director for Kyoukai no Kanata and designing characters for Kyoukai no Kanata and Amagi Brilliant Park.