[NSFW Doujin Release] – Kaga’s Flower Illness by Nekomura

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akaga nekomura yuri doujin

Title: Kaga’s Flower Illness
Artist: Nekomura
Pairing: Akagi x Kaga [Kantai Collection]
Genre: Drama, NSFW, Yuri

As always, Nekomura delivers the best Akaga you could ever ask for. I’m actually close to calling this my favorite doujin of all-time, so I think you can see that it’s really amazing~

元の投稿を表示 さらに45語

広告

[Manga] Dear My Teacher 7

The Zärtlichkeit du Yuri

01.jpg

And we’re finally at vol.7. One left and we’ve caught up with the Japanese releases. My translator told me we’d get vol.9 this Winter Comiket, can’t wait for this!

Download Link: mega | mediafire

title: Dear My Teacher vol.6
author: Ajiichi (アジイチ)

~~~~~~~~~~

translation: dareka00
edit: Mai88
QC: bronx819
special thanks: 0x6d6b

Do not upload this on Mangafox, Mangago, Mangareader, Manga Here or any other external reader with ads! Thank you.

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[Doujinshi] Barrier of Red and White ~White Chapter~

The Zärtlichkeit du Yuri

001.jpg

And this time it’s the sequel of the Kajimura Market doujinshi. You can find it here. Next will be DMT vol.8, so look forward to it~

Download Link: mega | mediafire

title: 赤と白の結界 ~白編~ (Barrier of Red and White ~White Chapter~)
author: かじむらマーケット (Kajimura Market)
pairing: Yukari x Reimu

translation: dareka00
scans/edit: Mai88
QC: bronx819

元の投稿を表示

The last unblooming cherry blossom is your last farewell/Le cerisier qui ne fleurit pas est ta dernière grace/桜の咲かぬは永訣の/ Sakura no sakanu wa eiketsu no

Le cerisier qui ne fleurit pas est ta dernière grace/                                           The unblooming cherry blossom is your last farewell/                                       桜の咲かぬは永訣の/ Sakura no sakanu wa eiketsu no

Circle: Misty rain
Album: 星天の夢見草 (RTS9)
Length: 04:04
Lyrics: 八白
Vocals:  ℃iel
Original title: 聖徳伝説~True administrator

Image0001.JPGNote:
You probably won’t understand the lyrics if don’t know the backstory of Toyosatomimi nomiko and a bit of knowledge about her religion.

 
English/anglais/英語:

幾度生まれ 人の苦しみを目にしたことか
輪廻の歯車がその身を軋ませ
新たに産声を上げた先で待つのは
新たな苦しみと見知らぬ景色

Ikutabi umare hito no kurushimi wo me ni shita koto ka
rinne no haguruma ga sono mi wo kishimase
arata ni ubugoe wo ageta saki de matsu nowa
arata na kurushimi to mishiranu keshiki

During your incarnations, have you noticed the suffering of people ?
The gears of samsara make this body creak.
Once more a baby crying is being awaited by
a new suffering and an unknown landscape.

世界とのつながりを欲し
眺めの良い丘に桜の苗を植えた

sekai tono tsunagari wo hoshi
nagame no yoi oka ni sakura no nae wo ueta

Wishing for a connection with this world,
on the hill with a beautiful sight a cherry blossom seedling has grown.

行くたび死んで 生まれ落ち 歯車が音を立て
いつしか枝先に蕾がひとつ

iku tabi shinde umareochi haguruma ga oto wo tate
itsushika edasaki ni tsubomi ga hitotsu

Every time you go you die and get reincarnated making the gears emit a noise.
Without noticing a bud has appeared on the tip of a branch.

幹にそっと背中を預け
高なるほど薫る桜色の春の風
目蓋の裏に見た影はとても懐かしく

miki ni sotto senaka wo azuke
takanaru hodo kaoru sakurairo no haru no kaze
mabuta no ura ni mita kage wa totemo natsukashiku

Gently giving your back to the tree trunk,
the exciting fragrance of a cherryblossom in the spring’s wind and
the shadow i’m seeing behind my eyelids make me very nostalgic.
厩戸に生まれ 言を発し
東方に向かい 手を合わせた
十を聞き分けた 豊聡耳
まだ然らざるを 記した

umayato ni umare koto wo hasshi
tōhō ni mukai te wo awaseta
tō wo kikiwaketa toyosatomimi
mada nasarazaru wo shirushita

Born at the door of a stable, she emitted a word.
Facing east, we joined our hands.
Being who can understand 10 flows of speech, Toyosatomimi
inscribed the yet undone future acts. (of the actions not made yet which she will make)

歯車は錆びついた 動くことはない
千代の眠りについた 安らかに

haguruma wa sabitsuita ugoku koto wa nai
chiyo no nemuri ni tsuita yasuraka ni

The gears have rusted, they are not moving.
Peacefully, i entered a multimillenial sleep.

八千代の夢の終わり 枝垂れ降る桜
骨に徹えるほどに かぐわしい

yachiyo no yume no owari shidarefuru sakura
hone ni kotaeru hodo ni kaguwashii

At the end of eight millenniums of dreams, the weeping cherry
fragrance was so sweet it is piercing my bones.

幻想の郷に目を覚まし
亡霊の少女がたおやかに膝をついた
「あなたに愛された桜は、御身の前に」 とーー

gensōkyō no sato ni me wo samashi
bōrei no shōjo ga taoyaka ni hiza wo tsuita
anata ni aisareta sakura wa onmi no mae ni toーー

Waking up in the village of illusions,
the fantomatic girl gracefully got down on her knee and said
“the cherry blossom you cherished is in front of you”.

 

 

 

 

 

 

French/français/フランス語:

 

 

幾度生まれ 人の苦しみを目にしたことか
輪廻の歯車がその身を軋ませ
新たに産声を上げた先で待つのは
新たな苦しみと見知らぬ景色

Ikutabi umare hito no kurushimi wo me ni shita koto ka
rinne no haguruma ga sono mi wo kishimase
arata ni ubugoe wo ageta saki de matsu nowa
arata na kurushimi to mishiranu keshiki

Dans tes incarnations, as-tu remarqué la souffrance des gens ?
Les engrenages du Samsara font grincer ce corps.
Une nouvelle fois un nourrisson pleurant est attendu par
une nouvelle souffrance et un paysage inconnu.

世界とのつながりを欲し
眺めの良い丘に桜の苗を植えた

sekai tono tsunagari wo hoshi
nagame no yoi oka ni sakura no nae wo ueta

Désirant un lien avec ce monde,
sur la colline à la belle vue une jeune-pousse de cerisier sortit du sol.

行くたび死んで 生まれ落ち 歯車が音を立て
いつしか枝先に蕾がひとつ

iku tabi shinde umareochi haguruma ga oto wo tate
itsushika edasaki ni tsubomi ga hitotsu

Chaque fois que tu y vas, tu meurs et tu te réincarnes en faisant émettre un son aux engrenages.
Sans s’en rendre compte un bourgeon a éclos au bout de la branche.

幹にそっと背中を預け
高なるほど薫る桜色の春の風
目蓋の裏に見た影はとても懐かしく

miki ni sotto senaka wo azuke
takanaru hodo kaoru sakurairo no haru no kaze
mabuta no ura ni mita kage wa totemo natsukashiku

Confiant mon dos au tronc du cerisier pleureur,
avec la fragrance excitante du cerisier dans le vent printanier et
l’ombre que je voyais derrière mes paupières me rend très nostalgique.

厩戸に生まれ 言を発し
東方に向かい 手を合わせた
十を聞き分けた 豊聡耳
まだ然らざるを 記した

umayato ni umare koto wo hasshi
tōhō ni mukai te wo awaseta
tō wo kikiwaketa toyosatomimi
mada nasarazaru wo shirushita

Né devant la porte d’une écurie, elle a crié un mot.
Regardant vers l’est, nous avons joint nos mains.
L’être qui comprenait dix flux de parole, Toyosatomimi
a inscrit les futures actions qui ne se sont pas encore déroulées.

歯車は錆びついた 動くことはない
千代の眠りについた 安らかに

haguruma wa sabitsuita ugoku koto wa nai
chiyo no nemuri ni tsuita yasuraka ni

Les engrenages ont rouillé, ils ne bougent plus.
Paisiblement, je suis entrée dans un sommeil de plusieurs millénaires.

八千代の夢の終わり 枝垂れ降る桜
骨に徹えるほどに かぐわしい

yachiyo no yume no owari shidarefuru sakura
hone ni kotaeru hodo ni kaguwashii

À la fin de huit millénaires de rêves, descendant du cerisier pleureur
Sa fragrance était tellement douce que elle faisait éprouver des douleurs a mes os.

幻想の郷に目を覚まし
亡霊の少女がたおやかに膝をついた
「あなたに愛された桜は、御身の前に」 とーー

gensōkyō no sato ni me wo samashi
bōrei no shōjo ga taoyaka ni hiza wo tsuita
anata ni aisareta sakura wa onmi no mae ni to

Réveil au village des illusions.
La fille fantôme posa gracieusement ses genoux à terre
et me dit “le cerisier que tu chérissais est en face de toi”.

斬レヌパラドックス/Uncuttable paradox/ Paradoxe de l’intranchable.

斬レヌパラドックス/Kirenu Paradokkusu
Uncuttable paradox/ Paradoxe de l’intranchable.
Album: 手のひらピアニッシモ (RTS8) / 千華繚乱(C82)
length: 03:37
arrangement: Autobahn
lyrics: かませ虎
vocals: senya
original title: 広有射怪鳥事 ~ Till When?
source: 東方妖々夢 ~ Perfect Cherry Blossom
Stage 5 Boss Theme; Youmu Konpaku
Purchase (non-sponsored, link sourced from the circle):
https://www.toranoana.jp/mailorder/article/04/0030/22/89/040030228940.html
Informations partially sourced from http://en.touhouwiki.net/

600px-YHST-0016

I think I will use another text layout next time I do another JP>EN/FR translation, this seems a bit stacked, I think it should be fairly obvious who is the main character in this song, there is not much to say.                    I have another unplanned song translation to do then I will start to work on the list of songs I planned to finish translating.

 

名誉は 欲しくない
孤独を隠すだけ
君さえ いればいい
知るのが遅すぎた

meiyo wa hoshikunai
kodoku wo kakusu dake
kimi sae ireba ii
shiru no ga ososugita

I don’t want honor.
I hide my loneliness as much as possible.
I realized too late that,
It would be fine if just you were there.

Je ne désire pas d’honneur.
Je cache ma solitude autant que possible.
J’ai réalisé trop tard que,
ça irait si tu étais là.

あやま血は 染まりゆく
痛みさえも 僕は許す

ayama chi wa somariyuku
itami sae mo boku wa yurusu

Mistake’s blood is going to dye me,
I will even allow pain.

Le sang de la faute va m’imprégner,
j’autoriserai même la douleur.

「過ちに挫けるな」
正論さえずるが
大人にも た易いことではないと知る

“ayamachi ni kujikeru na”
seiron saezuru ga
otona ni mo tayasui koto dewa nai to shiru

“Don’t snap because of your mistakes”
I know the saying but,
I know even for adults it’s not that easy.

“Ne craque pas à cause de tes erreurs”
Je connais la chanson mais,
je sais que pour les adultes aussi, ce n’est pas facile.

迷い閉じ込めるような 矛盾含んだ愛
駆け引きを知らない 斬レヌパラドックス

mayoitojikomeru yō na mujun fukunda ai
kakehiki wo shiranai kirenu paradokkusu

Like an imprisoned love that contained a contradiction,
It surpasses the game of love, uncuttable paradox.

Comme un amour emprisonné qui contenait une contradiction,
ça surpasse le jeu de l’amour, le paradoxe de l’intranchable.

一人ノ強さだけ 求めて
嘆いてた
「弱さをさらけ出す強さ」 を 笑ってた

hitori no tsuyosa dake motomete
nageiteta
“yowasa wo sarakedasu tsuyosa” wo waratteta

I was just searching for the strength for one.
I was lamenting.
I laughed of “The strength of showing your own weakness”

Je cherchais juste la force d’une personne.
je me lamentais.
je rigolais de “La force de dévoiler sa faiblesse”

あやま血は 染まりきり
痛みすべて 君と許そう

ayama chi wa somarikiri
itami subete kimi to yurusou

Mistake’s blood has dyed me completely.
I will accept all the pain with you.

Le sang de la faute m’a teint complétement.
J’accepterai toute la douleur avec toi.

「過ちを恐れるな」
自由な思想さえ
子どもには た易いことだと知っていた・・・

“ayamachi wo osoreru na”
jiyuuna shisou sae
kodomo ni wa ta yasui koto da to shitteita…

“Don’t be afraid to make mistakes”
Even this free-thought ideology.
I knew it was hard for childrens.

“N’aie pas peur de faire des erreurs”
Même cette idéologie libre.
Je savais que pour les enfants ce n’est pas facile.

迷い閉じ込めるような 矛盾含んだ愛
駆け引きを知らない 斬レヌパラドックス

mayoitojikomeru yō na mujun fukunda ai
kakehiki wo shiranai kirenu paradokkusu

Like an imprisoned love that contained a contradiction,
It surpasses the game of seduction, uncuttable paradox.

Comme un amour emprisonné qui contenait une contradiction,
ça surpasse le jeu de l’amour, le paradoxe de l’intranchable.

Masayoshi Minoshima interview from Tōhō Gairai Ihen #1 Full JP>EN translation

Hello everyone, I’m dareka00, before you read the interview I have just a few things to say :
First I would really like if you could give me any feedback, anything will help 🙂
In relation to this I would like you to keep in mind this interview probably comes from a heavily edited friendly discussion and I stayed as close as possible to the original text so some parts can sound a bit weird.
One more thing, I use the Revised Hepburn way of romanization which means long “O” (Ou) and double “O” (Oo) are romanized as “ō” (O + macron) you can read more here : https://en.wikipedia.org/wiki/Romanization_of_Japanese
If you want to support, you can follow me on twitter  (https://twitter.com/Dareka00EN) and since this translation is already a few weeks late, I’ll let you read the translation now.

Masayoshi Minoshima interview from Tōhō magazine (Gairai Ihen #1)

Preface:
He is especially known for [Bad Apple feat.nomico] on Nico-nico-dōga and his speciality is producing trance and club arranges*.
I welcome the representant of Alstroemeria Records, Masayoshi Minoshima to ask him about his relation with music, how he got involved in the music industry and more.

*Arrange = Music arrangement

First contact with Tōhō

I noticed you have quite a long history with Tōhō music.

Masayoshi minoshima (later abbreviated as M) :
I think I released my first CD at the winter Comiket of 2003.
That summer Tōhō 7 : Perfect Cherry Blossom came out, and I started my activities a bit after that.
Then, did you encounter Tōhō a bit before that ?
M :
My first encounter wasn’t at Comiket, it was at a doujin shop;
Tōhō 7 : Perfect Cherry Blossom CD front was displayed and that was my first encounter.
Wasn’t the jacket of Tōhō 7  the one with a shadow picture ?
It intrigued me so I looked at the back of the jacket and it looked like a danmaku so I thought “let’s buy it”.
From my memories it was unexpectedly entertaining, I ended up playing it quite a lot.
Before this game I was already into shooting games.

I see, which shooting games have you played ?
M :
I played titles that were not especially danmaku:
From Taito I played Gradius, from Treasure I played Radiant Silvergun and some more.
I never played a Dōjin game with a degree of completion as high as Tōhō 7 before, it surprised me.

What did you think about Tōhō soundtrack ?
M:
The first time I played Tōhō 7 , I really liked the music in the fifth stage when you fight Yōmu (Ancient temple).
I really liked her introduction (of Yōmu) in my first playthrough.
Yōmu comes out in the middle of the stage and you can’t skip her dialogue, I think the music is introduced that way to fit this chain of events.
In treasure games there is this kind of introduction, and because I really like that, I instantly thought this was cool.

From your point of view, which parts of Tōhō makes it this particular ?
M:
As expected I think characters stand out.
In other shooting games you don’t even remember the songs too,
they all have a player character but there is a lot of games where you have no idea who does what and for what reason.
If you go to a game arcade, you would see some promotional posters displayed but you would watch them and think “who’s this girl” ?
In that sense Tōhō put some emphasis on the story, this is why I think characters properly stand out in Tōhō, even in most commercial shooting games story is vague.

Talking about commercial productions, it’s commonly accepted that “Character games*” are a bit looked down on but Zun thinks that it is not the case.  (No I didn’t forget an answer )
Changing subject, while keeping an eye at Tōhō recently released games
do you think one of your particularity is to do arranges of old Tōhō games (PC-98) ?
M:
Personally I didn’t own a PC-98; Looking at the overall picture of those old songs, they have a minimalistic feeling attached to them.
Tracks with music loops are easier to make; Recent tracks have a lot of modulation in them, I often come across some parts which don’t go in the direction I want to arrange them;
It’s easier to take the intro and to go from there. …

* Character games (キャラゲー) are games made surfing the wave of popularity of a particular character.

Soon, I’m going to ask you about your music productions history but first :
What was the first piece of music you bought ?
M:
It’s a vague memory, wasn’t it 「JULIANA’S TOKYO」 ?
I think it was a compilation album.

Approximatively how old were you ?
M:
I was still in primary school.
My parents were renting an incredible amount of CDs, they rented everything regardless of the genra western music, traditional Japanese music.
Everytime we were in a car we were listening to these, during that time I got very attracted by techno ish music, music with the DJ speaking…
I was just in primary school but some songs touched me, I think JULIANA’s CD was most likely one of the first one to do so.

Were you interested in game music ?
M:
I was, Mainly in ZUNATA (Taito sound team) .
When I went to Gamers and other specialised stores, it was to look for them, I liked both music and games from Taito.

When did you make the jump from listening to music to producing music ? What was the triggering factor ?
M:
That was completely because of Tetsuya Komuro’s* influence.
I was listening to a lot of techno music when I discovered TRF;
the first songs of TRF were very loud techno, those were pretty JULIANA-ish.
After I discovered komuro’s music, I bought all the CDs they released and on top of that I was listening to TM NETWORK too…..
I was already completely into them, that was around middle school.

* https://en.wikipedia.org/wiki/Tetsuya_Komuro

I think you were lovestruck by them at that period.
M:
I watched lives from Komuro where he piles up and plays on many keyboards,
I thought “that’s really cool ! ” and it influenced me.
But I got my hands on equipment to produce music  at an other occasion.

Which is ?
M:
During middle school, I was in a Softmap in Akihabara, there were demonstrations of A-train 4 using sounds generated by a GS MIDI sound module;
These demonstrations were using sound modules : model SC-88 and SC-55, the music produced from these was good.
Because sound modules started to generally be internalized and to use frequency modulation, if you didn’t listen with a proper MIDI sound card it wouldn’t sound the same.
After seeing this demonstration I wanted to buy one !
So, with the money I got with a new year gift I bought the SC-55 module and A-train, in that package “myujirō”* was included.
At that time because I was listening to Komuro’s music, I bought Tm network’s music sheets and i tried to reproduce the music following the original music notes.
That’s when I started to produce my own music, I feel.

*Myujirō is the name of a package bundled with all sound modules containing a music sequencer called Singer Song Writer (no english wikipedia article available)

Have you ever tried playing a musical instrument ?
M:
I never played any  instrument.
I had some at my parent’s house but I never learned.
Both my parents own musical instruments, my father owns a violin and my mother owns a flute and a koto.

As we say, you are a music family aren’t you ?
M:
Actually, that’s not the case at all.
I never saw my parents play their music instruments (laugh).
They probably played a long time ago …..
Also they weren’t working in music related jobs at all.
But we were a family listening to a lot of songs, generally we were always in an environement filled with music.

That’s good
M:
From there with the influence of Komura Tetsuya, I wanted to buy a keyboard, I saved some money helping the family business and bought it..
At that period I was only making copies of songs .

*From the launch of his doujin circle to his professionalization*

Before starting up Alstroemeria records did you have any other dōjin activities ?
M:
Originally I was releasing my dōjin songs in a club playing original songs, Alstroemeria Records was created when I wanted to release my music arranges.
In the meantime that club has closed (laugh) .

When did you create Alstroemeria records ?
It was after I entered university.
I think Beatmania was popular at that time, wasn’t it the time when PC clones (of beatmania) appeared on the market ?
I wanted to try to make songs for these games, it was an occasion to make original songs.
At that period my interest for house and techno music widened up.

Did you meet the other members of Alstroemeria records at your university ?
M:
Not at all (laugh).
It was a solo activity;
Until I joined a group of authors making songs for the “bitmania style games” we mentioned earlier.
Alstroemeria records stayed a solo activity for a while, before Tōhō arranges I released only 1 CD of Key (Clannad) arranges, at that period I was completely in Key’s music, I liked them for a while.

When did you hear about Comiket approximatively ?
M:
Before i started participating as a circle I was already coming as a buyer, my Comiket participation history is quite old.
I think I went since high school, I was looking for Key stuff (laugh).

There was certainly a lot of Key and Leaf arranges at that time …
M:
I thought Tōhō arranges would be easier to do after listening to the original songs;
I felt my original sound module had a large variety of sounds so it made me want to change some parts here and there, I thought I could do it !

By the way isn’t there any history behind the name of your circle ?
M:
I used the name Triumphal records before.

You also released arranges for : Ragnarok online and also for a radio called “Nini Radio”, makes me nostalgic …
M:
Looking at that, it’s hard to grasp why but I think the game made an impact, I wanted to participate too with my circle (laugh).

W.. well it’s easy to cast the wrong spell …
During your activity as a circle, when did you start to get offers for original work ?
M:
3~4 years ago I would say.
First I did the opening of Battle Spirits then I did the ending of Nyaruko: Crawling with Love season 1 and the six endings of Nyaruko: Crawling with Love season 2, also I made some other songs.

What did you think when you got your first order ?
M:
Simply “Hurray”; before I received an order for an anime song I was starting to negociate to include some of my songs in rythm games, I thought this was the one opportunity I was awaiting.

Do you think you were influenced other Tōhō works ?
M:
I liked the way of what we call Chinese-scale-ish music’s melody was made.
I was influenced by various musics not only by Tōhō music, I like music so almost every music work I like influences me, game music too anime music too, music is my thing.

What’s your favorite original Tōhō track from the games ?
M:
I’d still say Ancient Temple, as for old Tōhō games it’s Bad Apple, recently I like Last Remote too.

What are your hopes and objectives for your future productions ?
M:
If I could get a proposition for the mainstream route it would be cool I think.
I’m specialized in music, I want to make a living out of music.

Do you have any advice for people who aspire to make music ?
M:
In the producing music for a living sense, I think you absolutely have to have luck it’s pretty difficult …..
On the song production side you need to listen to a wide variety of music and extract knowledge from it.
For example while listening to someone else work, you should understand what sound is playing;
In unexepected places dissonant notes can get mixed in, if you can become sensible at finding these, it’s a good sensitivity to have.

Can you please send a message for people listening to your music ?
M:
I want to keep producing the most cutting edge music mixing fusion for Tōhō arranges and to continue to excite everyone, thank you very much.

Hello world!

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