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Apparently there was a hiccup in the system and WordPress lost contact with Facebook. This post is just to check and see if I’ve got that straightened out again. Ping!

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A Raven, to a Wren

A Raven, to a Wren

Bound about by this city, smog, steel,
Brother and sister bird-chicks, blindly
dreaming flight under its gray sky-shell
Feeling the outer world invisible,
closed and open spaces, winds and havens
What can we do, as yet unborn, untried,
but spread in dreams, in hope, our wings of words
and trace our arcs across this inner space
Preparing for a free wild infinity?

A poem I wrote to a fellow writer, long ago and far away. Never stop writing.

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Cool-headed, hot-footed

The winter is upon us! Here’s a helpful tip for weathering it.

頭寒足熱

zu.kan.soku.netsu

Literally: head – cold – leg/foot – heat

Alternately: Keeping your head cool and your feet warm; a recommended palliative when you have a cold, or general advice for body-temperature regulation in the winter.

Notes: Cooling the head, by itself, is a metaphor for remaining calm in Japanese just as in English. This yojijukugo as a whole doesn’t seem to have any such metaphorical use, though. That said, it’s not bad advice overall: a certain amount of exposure to cool air encourages the body to develop or retain “brown fat,” which has been shown to play a role in regulating metabolism. At the same hand, a single experience is enough to impress on you that it’s near-impossible to sleep when your feet are cold.

Hot water bottles! How quaint!

Totally cribbed from this now-defunct Russian Japanese-study blog. I have no idea where they got it. A Japanese blog, perhaps.

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My way *is* the highway

学問に王道無し
(Gakumon ni oudou nashi; “There is no royal road in learning”)

Definition:

There is no easy way, no quick fix or magic bullet, for mastering a field of study. You need to acquire information and mental tools, incorporate them into your worldview, and practice their use. While this is true in any language and culture, it is especially so in Japanese, where even mundane literacy requires hundreds or thousands of hours of practice. Alternately, there is an order in which certain subjects must be studied; there is no way to skip parts of that sequence and still learn effectively.

Breakdown:

(gaku) is “study” and (mon) is “question”; put them together and you get “study,” “scholarship.” This noun is followed by (ni), a positional/directional particle, in this case acting equivalently to the English “in.” Then comes another noun: (ou) is “king” and (dou) is “road”; combined they make “royal road.” The term can mean “kingship,” “righteous rule,” or “noble path” – or “shortcut,” “easy method.” This is modified, without particles, by the negating adjective 無し in its sentence-final form. Despite this kotowaza‘s simplicity, which may make it feel truncated, it functions as a complete sentence as written.

Notes:

Apparently this saying is derived from the story of the first Ptolemy asking Euclid to present him with a simpler guide to geometry than his Elements, to which Euclid supposedly replied “There is no royal road to geometry.” We see, first, that Euclid would be absolutely blown away by modern textbooks (and the fact that geometry is routinely taught to teenagers), and second, that the Japanese version has expanded its scope from one branch of mathematics to all of academia. (Keep in mind, however, that physical skills or other non-academic areas of “learning” still fall outside of its scope.)

One can also use the more literal 近道 (chikamichi, “shortcut”) in place of the figurative 王道.

Example sentence:

「積分学を身につけるには、先ずは代数学と三角法、それから微分学を学ぶという順序を踏まなきゃいけませんよ。学問に王道無しだし。」

(“Sekibungaku wo mi ni tsukeru ni wa, mazu ha daisuugaku to sankakuhou, sore kara bibungaku wo manabu to iu junjo wo fumanakya ikemasen yo. Gakumon ni oudou nashi da shi.”)

[“If you want to master integral calculus, you need to learn first algebra and trigonometry, then differential calculus, in order. There are no shortcuts in learning.”]

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A sliding scale of stabbing

Tabletop RPG idea of the day: a system for resolving attacks in combat. I don’t think I’ve ever seen anything exactly like it.

Background: One standard for making an attack is the attacker rolling dice to overcome a static defense value, such as “armor class.” Another is the attacker rolling dice to hit, and the defender rolling dice to prevent the hit. This ensures that players never have to sit by passively and await their doom when someone attacks them, but at the cost of added time and complexity. Numenera splits the difference by always having the player roll: an attack roll on the offense, and a defense roll when defending.

In the event of a successful hit, damage is almost always a variable roll. Numenera, and probably other systems, substitute a fixed value based on the weapon or weapon type. The White Wolf system is notable for having damage directly correspond to the number of successes rolled on the attack, in a dice-pool system.

One more piece: a number of games have used the idea of a die scale: an effect that is normally determined by a d6 might call for a d8 when enhanced, or a d4 when reduced.

The idea: During combat, both the attacker and defender make rolls. Each might have the ability to choose between several types, as well: the defender might have the option to roll a dodge, a parry, or to simply accept the attack against them and attempt a counter.

The attacker’s weapon has a base damage die (such as d6). More success on the attack roll slides the value upwards – to d8, d10, d12, and so on. This neatly includes a “critical hit”-type effect of increasing severity for increasingly expertly executed attacks. On the other hand, more success on the defense roll slides the value back down. My assumption is a system calibrated so that a perfect tie results in minimal effect: a single point of damage, but this can be adjusted depending on how bloody and dangerous you want combat to be. Obviously, greater success in defense eliminates damage entirely.

If you want to add special combat effects and options, this is where they would come in. The attacker can declare certain goals before making the roll, such as disarming their target, striking a specific body part, or even moving to short range while avoiding a longer-range weapon, such as a swordsman attempting to close in past the point of a spear. Each goal would have a specific cost in “steps” on the damage scale; if that cost slides the scale down to zero, then the move was too difficult to pull off.

Example: Bob the swordsman faces off against a troll wielding a club. Knowing that he probably can’t kill it in one blow, he hopes to strike its hand and force it to drop its weapon. Since a hand is a small and mobile target, his attack roll must beat its defense roll by three steps. Any less and he simply misses, causing no damage and no effect. Any more, and he manages to do a little extra damage to it as icing on the cake.

On the other hand, there may be effects that take place when defense is better than attack. Instead of steps below zero damage in to negative territory being “wasted,” they may count as a sort of critical fumble, allowing the defender to disarm, unbalance, or even harm the attacker. Unlike the cost in steps that the attacker faces, there would probably be a threshold beyond which an effect becomes available for the defender to choose.

Example: Bob has disarmed the troll, but now it’s angry and it still has long, sharp claws. It takes a swipe at him – but its roll is very poor and Bob does well. Perhaps it failed to hit at all by four steps (i.e. the damage roll went to four steps below zero). And perhaps there’s a two-step threshold for “unbalance,” forcing your opponent to go last in the next round, and a four-step threshold for “riposte,” allowing you to counterattack. Bob chooses riposte, and is able to make another attack for free.

Thoughts: This kind of combat would be a little harder to learn and get used to, and the optional customization threatens to become a sprawl of finicky situational rules and sub-sub-systems. It would require that everybody at the table have a full complement of die types, and combat would be a lot more variable (“swingy,” as they say) than the all-nothing-or-double standard familiar to players of D&D, in which you either hit, miss, or crit.

On the other hand, once you’ve gotten the hang of it this should be a relatively quick and simple system to use in play. It gives both defender and attacker an increased range of options without piling on the number of rolls to be made or subsystems to be consulted. The variability has a positive side as well, adding uncertainty and excitement to a fight – but in a way that is directly tied to the relative skill of the combatants instead of feeling arbitrary.

The bottom line, as always, is that practice overrides theory and whatever works (or doesn’t) for a specific group should inform that group’s play style. But overall I like this idea, and feel it would represent an incremental improvement on standard D&D-style combat.

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There is no say. There is only do.

不言実行
fu.gen.ji-.kkou

Literally: [negative] – say – reality/truth – act/conduct/journey/go

Alternately: Don’t talk; do. Action over words. Quiet, determined action.

Just in case you need help

A helpful diagram! (Source)

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Mochiya knows best

Intro: This week’s saying is almost a synonym with last week’s 蛇の道は蛇.

餅は餅屋
(Mochi wa mochiya; “The mochi-maker [knows] mochi”)

Definition:

For the best mochi, go to a mochi-maker (instead of trying to make your own, or depending on the work of an amateur). If you need work done in a given field, it’s best to ask a specialist in that field. No matter how devoted or skillful an amateur or hobbyist is at a given task, they won’t be as good as a professional or specialist. In a way, this kotowaza is one of the fundamental underpinnings of modern economics: efficiency and improved results through specialization. It’s the inverse of “Jack of all trades, master of none.”

Breakdown:

Only two nouns and a particle in this one; it’s a phrase rather than a full sentence. (mochi) is a rice cake; 餅屋 (mochiya) is a rice-cake shop, maker, or seller. (wa) is the topic-marker particle. Put them together and you get “As for rice cakes, rice-cake-shop.”

Notes:

What is mochi? It’s a cake – a lump, if you’re not feeling generous – of glutinous white rice that has been cooked and then pounded (traditionally with a wooden hammer in a large stone mortar that has been polished smooth on the inside) until it’s a single mass. Mochi may be eaten warm on the spot or saved; dried bricks for soup can even be bought in Japanese supermarkets. It may be eaten as-is; flavored with bean paste, kinako powder, or other sweet fillings or toppings; or toasted and eaten with soy sauce and other savory flavorings.

Example sentence:

「さすがに餅は餅屋で、グラフィック・アーティストが想像以上に素敵なロゴマークを描いてくださった」

(“Sasuga ni mochi wa mochiya de, gurafikku aatisuto ga souzou ijou ni suteki na logomaaku wo egaite kudasatta.”)

[“You really do need a specialist for some things; the graphic artist drew us a better logo than I imagined.”]

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But, what if you have both a sword AND a pen?

A good, balanced approach to life.

文武両道
bun.bu.ryou.dou

Literally: sentence/missive/literature – military/warrior – two/both – road/way/teaching

Alternately: Both the military and the literary arts. A person who excels at both athletic endeavors (especially, but limited to, martial arts) and scholarship.

Notes: With the changing times, the samurai-inspired world of 武道 (swordsmanship, spear, archery, horse-riding, judo, karate, etc.) has given way to modern sporting practices – including “sport” versions of martial arts, but also game-sports such as soccer. Similarly, the ancient aristocratic arts of letter-writing and poetry have been replaced by a wider array of fields of scholarship: literature, to be sure, but also history, social science, and the physical sciences, among others. These days any physical pursuit and any course of study are probably going to fall within the scope of this phrase.

Let's see 弘法 try this!

Fighting with a writing-brush… is doing it wrong.

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Who knows Snake Road?

蛇の道は蛇
(Ja no michi wa hebi; “Snakes [know] the snakes’ road”)

Definition:

People who belong to a certain group are the ones who know the most about the ways of that group. Specialists understand other specialists in their field better than anyone else could. “Set a thief to catch a thief.”

Breakdown:

is “snake,” but here it’s pronounced two different ways. The first is ja, with the nuance of a large snake; the second is hebi, implying a small one. In between these two snakes is (michi, “street,” “road,” “path,” “way,”), connected to the first with the associative particle (no). (wa) is the topic-marker particle. The result becomes roughly, “As for snake’s path, snake.” (But see below.)

Notes:

The phrase can be completed by adding ~が知る (ga shiru), a subject marker plus a sentence final form of a verb approximate to the English “to know.” This longer form thus becomes “Snakes know the ways of snakes.”

As mentioned above, ja implies a large snake, while hebi is a smaller one. Supposedly the saying originally referred to the belief that smaller snakes would travel along the trails left by larger ones – meaning that the hebi would be well acquainted with the “ways” of the ja. If you want to know “the path of the ja,” then, you would do well to ask a hebi.

Keep this in mind, because while the common negative interpretation of “snake” fits well with the given English-language rendition of “Set a thief to catch a thief,” ja isn’t just a large snake: it can also be a dragon. (For example, the Nagasaki Okunchi festival features a Chinese-style “dragon-dance” called 蛇踊り – ja odori, “ja dance” – usually “dragon dance.”) It was believed that a snake that lived long enough would grow and develop into dragonhood, spending a thousand years in the sea and a thousand years in the mountains in the process. Think of how long and sinuous Eastern Dragons are. And maybe next time you meet a little green snake, show it a little more respect.

Example sentence:

「『羊たちの沈黙』という映画の前提は一言に言えば、『蛇の道は蛇』らしい」

(“’Hitsuji-tach no chinmoku’ to iu eiga no zentei wa hitokoto ni ieba, ‘ja no michi wa hebi‘ rashii”)

[“Summing up the premise to the Silence of the Lambs movie in a single phrase, I’d say it’s ‘Set a thief to catch a thief.’”]

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A villanelle in a voice

Thea

The world is old and hums with power
In many voices; I should know
I speak for all that comes to flower

I came to being in a bower
Born of the wild’s ebb and flow
The world is old and hums with power

My home a wood and not a tower
I wield no fire, bend no bow
I speak for all that comes to flower

I could not order sun or shower
But crops were mine to kill or grow
The world is old and hums with power

I feel my fate in some dark hour
What will my story have to show?
I spoke for all that comes to flower

Although I fear, I will not cower
My face shows where I chose to go
The world is old and hums with power
I spoke for all that came to flower.

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