Mangajin39 - Computer Assisted Learning

1992 -'1'- 1D 16 ll !IL c!Uilff;tJ;;J(of 1994 if- 10n 1011~17 (1r!,IJ11!!11on ~til i!AJ.il;rl39-l}

JAPANESE POP CULTURE & LANGUAGE LEARNING

~J1WB ®Ifif}] iliJ

j,

I

mm:mm ~ .--..~

AI•: Jtp11'1 Stew M11l1

~iafi 950 P3

0

gumme

0

de aru.

as-for gounnet

isJare

Oba taria ns are ourmets. (PL2) Sound FX:

*

3

*

o

Sign: 'J- A • • • •

o

3

kyoro (effect of shifling/searching eyes)

Kyoro

Worcestershire Sauce

Sosu

obatarian has become a slang term for ··selfish middle-aged woman:· gurume is a katakana rendering of the word ··gourmet." de aru is a more formal/ literary equivalent of daldesu ("'is/are"). sosu, from English "sauce." by itself refers to Worcestershire-type sauces; all other sauces have to be specifically named: tabasuko sosu ("Tabasco sauce"). tomato sosu ("tomato sauce"), etc.

Oba tarian: Q .t,

1 'h

Ne,

1)

lkari

wa

nai

no?

(interj.) (brand name) as-for not exist/have (explan.)

"Sa don 'typu ha.Y.e Ikari?" (PL2) Storekeepe r: T "I ~ -tt A, 0 o'11;1J tt. -r- L "( 0 Suimasen.

Shinagire deshite.

(apology)

out of stock

is

" I'm sorr . It's out of stock." (PL3) • neat the beginning of a sentence is used to get someone·s attention. like "say/hey." It feels less formal than "excuse me." but not abrupt or rude. • lkari is one of the best-known brands of Worcestershire sauce in Japan. • suimasen is a colloquial sumimasen. which can mean either "sorry/excuse me" or "thank you" depending on the context. • deshite is the -te form of desu ("is/are"). Use of the -te form here can be seen either as marking the cau elreason for his apology. or s impl y as a way o f softening the end of his sentence.

0

Storekeeper: .:.t,l?

"t"

li

Kochira

de

wa

"'~'~r-r--t~'? ikaga desu ka ?

this direction with as-for

how is it?

" How a bout this one?" (PL3) ~~.17:. Shinseihin

-r-

de

*-'Pl.

i¥¥4=1J

taihen

hyoban

'b J:

< .. .

mo yoku . . .

new product is-and very much reputation/reception also good

" It's a new produ_cj_a_nd has been ver v well received." Oba ta ria n: t.!. n J: !! '7 t, li 1f '/J' I? Dame

yo!

Uchi

wa mukashi kara

no good/won't do (cmph.) our house as-for long ago ') - A

sosu sauce

l;t wa

1 'h

1)

lkari

from

c .. . to . . .

as-for (brand name) (quote)

"That won' t do. At our house, from long ago, (it's been establi hed that) our Worcestershire sauce is lkari.'' " No wa ! We've always used lkari a t our house." (PL2) • kochira is literally "this direction/side," hut it's actually just a polite way o f saying "this/this one." Shopkeepers often use the direction words kochiral sochiralachira when pointing out merchandise for their customers. • hyoban literally means "reputation... referring to how something is being received by the public: hyoban ga ii ="is popular/being received well" and hyoban ga warrti ="is unpopular/being received poorly...

GJ

Storekeeper : .:.· .Aft go-shishoku

-t - Jv 't' seru de

-¥ ii "t" T ~ro

lwngaku desu ga.

(hon.)-trial eating sale is-and half price

is

but

" We' re having an introductory sale so thev' r e half price." (PL3) O bataria n:

2~

Nihon

i? J: 1 t.!.l.o' o clrodai.

2 (count) l pleaseI give me/let me have

" I ' ll take 2." (PL2) • clrOdai is an informal ''(please) give me/let me have." © Hotta Katsuhiko. All rights reserved. First published in Japan in 1991 by Take Shobo. Tokyo. English translation rights arranged through Take Shobo. Mangajin 53

~~AID&•

by .:lz:.:rt~~:t:eB

Xtl•h

Q]

I T achibanaya Kikutaro

O n Pa pe r: 7 7. ~

Test

Teswo

Li~ "' i:: :Z!? Motto benkri5 slzinei to eraku

Tochan: 'b -=> i:: !!12591

Beranmei Tochan

more

\tudy

<

-t'o

tj: ttt.l "' narenei

zo.

if don't do imponant can't become (masc. emph.)

" If you don' t study harder (PL2)

Boy: !i- lt' o "Oka ." (PL2)

Ha-i.

• benl..yiJ shinei = benkyiJ slzinai. the negative of benk)·ii suru ("study"). • eraku is the adverb form of erai ("eminent/important [person]"), and narenei = narenai ("'can't become"), the negative potential ("can/able to") form of naru ("become").

ta

Kacha n: -? -:> I! I) Yappari after all

7')1

~~

-t:!

t.0-7

l)

.:t:.. A

?

e

ikasenai to dame

!>Uppl. classes to

ka nei? ? (colloq.)

must make go

"After all, must we send him to a juku, do you think?" --+ "May_!>e we really ou ht to send him t o a 'uku." (PL2)

"P-"11'~ -M

CJ/1

juku

I~

0

• juku refers to a wide variety of after-school and weekend academies that Japanese school children attend to supplement their studies.

IJ

TOchan:

t:

1 ~ lv , i" 1 U-n.

t.: ~ -r o

siJ da nii.

" Hmm, I wondcrr..'' (PL2)

o !!12 ~91 BerabiJ-mei! ridiculou.Joutrageous

;t L?

-c- ~ 1'j: < t.:. -::> -r:

Benkyii dekinaklllatte

t.:.

eraku11afla

' tudy

even if cannot

A hiw

Boy:

,J -:> "(

to

.0 .:: i::

ifte·ru koro

i"J{ ga

&:r.t t! J:

-:> o

hanrai da yo!

a while ago (comp.) wha1 Iyou] are saying (subj.) is opposite (emph.) " That's the O(WJ>Site of what ou said a minute a Q," (PL2)

• dekinakuraue is a colloquial dekinakute mo ("even if/though [they] cannot") from dekiru ("can ldoj/be able to Ido]"). Benkyo (ga) dekiru is literally "can study" but it actually means ''do(es) well in school."

• natta is the plain/abrupt past form of naru ("become"). Benkyo ga dekina~waue erakunaua is a complete thought/sentence ("'became important even tho ugh Ithey] did poorly in school' ') modifying lziro ("person/people''). • ikura is "how many/much" and ikura mo is ''however many/whatever quantity'' • "any number/quantity.'' lrai! is a strongly emphatic slang version of iru ("exiM,.. for animate things).

• ro marks the object of comparison in the expression ... ro lzanrai da. so sakki ro . .. lwllfai da means "is the opposite of a while ago." li:> Tachibana)a Kikutaro, All right'> reser1cd. FiN published in J apan in 1991 by Take Shooo. Tokyo. English translation rights arranged through Take Shooo.

54 Mangajin

by .:ll:1E~~::t:E!B

lochan:

I Tachibanaya Kikutaro

~Wl

lj: o

Kesa

wa

tosmo

to

toast

and coffee

this morning as-for

kohii

ga

nn.

ii

(subj.) good/fine (colloq.)

" I' d like toast a nd coffee this mornin!!.'' (PL2) Kachan: !:> ~, -(It'~ lv ' ' 1 tJ 7 t!. b.lt' o

Beranmei Tochan

Oya.

zuibun haikara da nei. quite/very modern/Western is/are isn't it/aren' t you

oh

" Mv 20odness. that's very modern (of vou)." (PL2) • ... ga ii is used to express one's choice/preference/selection. • oya is an imerjection of mild surprise. • haikara is from "high collar." It came to mean "up-to-date/fashionable" around the turn of the century, when Western "high collar" fashions came to Japan. Ironically, haikara now has an old-fashioned ring for a word meaning " up-to-date," having been replaced by words like -t? v' naui ("now-ish").

0

Tochan: "t' t 1j: lv c 7j:

Tachibanaya Kikutarll, All rights reserved. First published in Japan in 199 1 by Take Shobo. Tokyo. English translation rights arranged through Take ShobO.

Mangajin 55

~ ,L~ ,v~~ ,"SiiJ~

0

Student:

tr~1:1v, ~1 -:> 1:"¢?

Kiisan.

shiue-ru?

mother/mom

know

"Mom, do you know?" " Mom, x_ou know what?" (PL2) =- ::L- r / li x~· ~ lv t:. J:

Ishii Hisaichi Senshu

Nyt7ton

SELECTED WORKS of ISHII HISAICHI

11'(1

ewton

ten.wi

nan da

b o ne.

\ '0

as-for gcniu' (explan.-is) (en1ph.) (colloq.)

"Newton was a genius, right?" (PL2) Mother: X..? £'!

" Huh?" (PL2)

0

Student:

"? i

;tv

I)

Tsumari

JU·

~

t:.

J: o

na 11 da

yo.

~

ore mo rensai

lv

i.e./that means lime al'o gcniu; (explan.-is) (cmph.)

"So that means I'm a genius too." (PL2) Mother: ~ lv (J) .: c -t-' ~:1/v '! Nan no koto ra nen ?

what

of thing 'is (cmph.)

"What arexou talking about'?" (PL2-K) • ts11mari = "that is to say/in other words/i.e." • ore i'> a rough/masculi ne word for " 1/me." • ya 1U!n h a Kan~ai dialect equivalent of da yo ("is/are··+ emph.). but ya nen i\ more free I) used by female speakers than da yo is. For both da yo and ya nen. intonation makes the difference between a statement and a question.

Student:

=-

r :. -

::L -

li

Nyt7wn

a~-for

cwton

z

'J / ::!

z

J! -c

ringo

o

mite

fallen/fal ling apple (obj.) sec/saw-and

o

1H~ L.. t.:. lwkken .~hita

(obj.)

di~covcrcd

9 I JJ inryoku gravity

{fr t:, t.:. ochita

wa

!v t!. da

J: o yo.

11

(explan.) (emph.)

"Newton saw a falli ng apple and discovered gravity." (PL2) Mother: i- il -!Jt Sore that

ga

donai

(subj.) whatlho"

shiw did

11

ra?

(e~pian.- ?)

"So what?" (PL2-K) • ochiw is the plain/abrupt past form of ochiru ("fall/drop''). Ochira ringo can refer either to an apple already on the ground or o ne that is still falling. since, in the Iauer case, the apple " has fal len'' fro m the tree as soon as it leaves the branch. • mire b the -re form of miru ("'see/observe"). The tense of the -te form of a verb is determined by the end of the clause/sentence. • inryo~ u ("gravity") is wrillen with kanji meaning "pull" and "strength." • flaaen .1flira is the past form of lwkken sun1 ("discover''). fro m flakken ("discovery"). • dmwi i~ dialect for diJ ("whaVhow"), ~o donai Jfliw = diJ sflira (shira is the pa\t form of sum. "do"). Sore ga del shira ban expression equi valent to "so what'?/what'~ that got to do with it?" • ya typically replaces da in Kansai speech. A~king questions with ya is very common among female speakers in Kansai. but asking questions with da in 'tandard Japanese can sound a bit rough and is mostly masculine.

Student: ;1-

v

Ore

li 'ifi. t:, t.:. loc t~~ 11·a

ochita seiseki

lime as-for fallen

'JUJ jitsuryoku

z o

z

n -c

o

mite

grades (obj.) sec/saw-and

1€ J,~ L.. t.:. -lr 0 o hakken shira kara.

true abilities (obj.) disCO\Crcd

becau t:. -:> It alia

i;t? na?

kke

:tt girls" high school exis1ed (recoil.) (colloq.)

" Was there a girls' school near here'?" (PL2) • doko 110 wij11l.u is literally ··uniforms of where:· meaning "uniforms from/ for what \chool. ..

• kana a~k'> a conjectural que~tion. ··1 wonder where/what/how/etc." • kono (""this") modifies chikaku. a noun referring to ··the vicinity/area nearby."" so ktmo chikaku ='"this vicinity/near here:· • joshi = '"girl(s)/femalc(s)."" and -kO refers to 1.":j I~ kUkO. or more fully. t:i ~If -:f:f;( kotii 8llkkii: ··high schoor· - • joshikri ="girls' high school." • alia is the past form of aru ("exist/be in a place··). and kke expressc~ an effon to recall something that''> vague in the '>peal..er"s memory. He's trying to recall whether he has heard of there being a !.Chool in the vicinity.

c·.:. (J) •'(:t;(? Kimi-tachi. doko no gaJ..I.ti?

Man: ttt:."S,

you-( plural)

"here of

\ChOOI

"You girl , what school are_E)u from?" (PL2) Girls: l;i" Ha ?

" Excuse me?" (PL3) • kimi i~ an informal/masculine word for ··you:· used to addre~~ pcr,ons of equal or lower \OCial Matus. -Tachi makes it plural • "you people/guys/girls."· • ha spol-en with the rising intonation of a queMion is a polite "What's that?/ Excuse meT when you didn't hear/under~tand clearly what was said.

Girl:

t ''"( "'"((h~~'-IJ'? yatte kurenoi ka?

for problem collection (obj.) won't Iyou I do for me?

" I'll do the homework for JaP-anese (class), so will vou do the worksheet for math?" (PL2) ~,~,, -tfu :e.

li

good/fine (emph.)

" Sounds good." (PL2) • kokugo, literally "national language," is the name used for the " language an~" stream of the Japanese school curriculum -

i.e.. the equivalent of what has traditional ly been called "Eng li ~h" in American schools.

• yalle is the -re form of yam (informal word for "do." or in this case "will do"). and following it is a different yaru. meaning "give to (someone)." When thi~ ~ccond yoru comes after the -te form of a verb. it means " do (the action) to/ for (someone).'' so yatte yaru =''(I) will do (something) for you:· In this case. though. he will actually be doing it for both of them. • the suflix -slrii refers to an "anthology/collection." Mondai-shii usually re fers to a workbook. from which a worksheet of problems might be assigned. Thi~ ~eem\ to be the case here.

• yatte kurenai combines the-re form ofyaru ("do") with the negati ve form o f kureru ("give ito me]"). Kureru after the -te form of another verb implies the action will be done by someone else for the benefit of the speaker/subject. As a question. yatte kureuai (ka) makes an informal request, "Won't you ... for me?" ....... " Would you ... for me?" Once again. though. the friend would be doing it for both of them in thi~ case.

• z.e is a rough/masculine particle for emphasis.

I!ru.':

tx~

(!)

r..,m~

-IJ'C-:>, HiX., ikl ..a

", HiX. ,

(!)

171M!

" b t.: "(>!!) k~11utkujyara uolmojamoja 110 • ~-nh = IHJ:h!;t~ sluasujo-ken • endor~ernent = JLfi/1', iJ.i kokoku Jlrm.we11 • prog~oMicator = '.fi yogenslw/urauwslw • JOCk = -IT :F- 'J - sapora

60 Mangajin

< t.: '\' r? r, j· .r,·/

by

*~R] Oshima Tsukasa

The manga Shoot! tell the story of To!>hi. Kenji and Kazuhiro-freshmen at Kakegawa High School and the newest members (along with two other fre hmen, ina and Sasaki) of the school's well known soccer club. T oshi, Kenji and Kazuhiro (they generally call each other by their first namc'"s) once formed the core of a formidable junior high school . occer team, but at Kakegawa High, they are learning the hard way that high school soccer is a whole new ball game. In this epi sode, the five freshmen are having their first practice with Kubo (referred to by all as Kubo-san), the captain and star player of the team, who last year led the Kakegawa soccer club to the Final Eight-an incredible accomplishment. since the club had been formed only six months earlier. Kubo has been in the hospital, and thi i hi first time back with the team since the freshmen boys joined. Unaware that Kubo would be there, Toshi has shown up late to practice: now he is watching from the sidelines. aghast, as his friends get trounced single-handedly by the great Kubo.

The main characters

4'"1'7'7:.-

Kubo Yoshiharu Captain, Kakegawa Soccer Club

Hiramatsu Kazuhiro

Tanaka Toshihiko (Toshi)

The artist At 24 years of age. O shima T sukasa is a relative newcomer to the manga scene. But she has already made an impact, winning the K odansha Manga Award in the boys' manga category (~'if. i~IWJ, Shi1nen Bumon) for Shoot.'. her debut work. The judges were most impressed by her ability to

Shiraishi Kenji

portray the experiences of adolescence w ith such accuracy and sympathy even while maintaining the pace and excitement of a typical sports manga. Currently. O shima is in her third year of serializing Shoot! in Slu7kan ShiJnen Magajin (~!Ill ~-1f7

7"/:l /).

Inc identally, " T sukasa" is a masculine pen name. Oshima's given name i s Yoshiko.

© O;,hima T,ukasa. All right> rc,cncd. FtN publi>hcd in Japan in 1991 by Kodnn;,ha. To!..yo. English lran;,lation rights arranged through KoJansha. Mangajin 61

62 Mangajin

1-! • Shoot!

: / .:1 -

rp IT) iJ~ . .. ~1t ·no seito ga ... Gakko ·]II school throughout of students (subj.) All the students in the school ...

Narration: ~~

.

. . Narration:

.

The whole school ... -jii is a suffix meaning "throughout - ," but when modifying another noun like this it's bener translated as "all the students in school" _. "the whole/entire school." seito most commonly is used to refer to students through high school; the word can also refer to students in private classes of various kinds. College students are called ~1o gakusei. ga marks seito as the subject of the clause (a modifying clause), which continues through 2 more panels; the full sentence continues through S more panels.

-ell)

~ ... ~~ sono yiishi o... that's/his bold/heroic figure (obj.)

(at) his bold figure, .. . yiishi is wrinen with kanji meaning "brave/bold/heroic" and " appearance/figure"; o marks the word as the di rect object of the verb appearing in the next panel.

Narration: - §

~J.,

t:.¥)

1:

~11')

...

hitome miru tame ni atsumari . .. one eye/look see purpose for gather

. ..

in order to get a look, has gathered (and)

Combined narration, panels 1-3:

The entire school gathered to get a look at his bold figure ...

hitome is literally "one eye," but idiomatically means "a look"- most commonly implying a very brief "glance/glimpse," but in some contexts used for more sustained " looks/observations/examinations" as well. tame ni after a verb means " in order to (do)/for the purpose of (doing)." atsumari is the stem form of atsumaru ("[something] gathers"), here being used as a continuing form .

1:

Narration: fD:}ti

-:)-:) 1 h t:. .. .

kansei ni tsutsumareta . .. cheering voices by/in is wrapped/enveloped/engulfed (something) is enveloped in cheers

. Narration:

(on) the cheer-envelo~ed ... tsutsumareta is the passive past form of tsutswnu ("wrap/enfold/envelop"). ih~

IT)

7 1 - Jll )-:

1: . . .

110 fiirudo ni ... a sa morning in/during field on o n the morning field ...

. morninl! field . .. (PL2) .

no between two nouns makes the first into a modifier for the second: "morning field/field in the morning/field of a morning." the particle 11i is used to mark the location where something or someone "exists/is present."

Narration: ihiTJ A

-/){ ~~ ~ T "( It \ f:. o

kakete-ita. a no hito ga that person (subj.) was running that person was dashing about.

the magnificent ~lal'er was dashing about. (PL2) Title: :/ .:z.- r! Shiito!

.

. .

Combined narration, panels 1-6:

The entire school gathered to get a look at his bold figure, and the magnificent ~layer dashed about the morning field that was envelooed in cheers.

Shoot! ano hito here has the feeling of "THAT person"- i.e., "a particular person of note/the person everyone's been talking about." Since the person is a soccer player: "the phenomenaUmagnificent player." kakete-ita is the plain/abrupt past form of kakete-iru ("is running"), the -te form of kakeru ("run/dash/gallop") plus iru ("exist/be [in a place]"). Adding iru to the -te form of a verb makes its progressive ("is/are - ing") form. shiito is a katakana rendering of English " shoot"; in Japanese shiito is used in sports like basketball, soccer, and hockey- not for firearms.

Mangajin 63

:-- ~ - I-I • Shoot!

7;,

- ~ ~- ?.., ! Uwa! (exclam.) "Yie!" (PL2) FX: .A -y Su! (effect of sm ooth, q uick, deft movement here of s lipping past his adversary) Nitta:

--.:> -c

v' -::> -cb *"'-? tt lj:v'o

Tte itte mo oitsukenai. (quote) even if say can' t catch up "So h e may say, but I can' t catch up." (PL2)

- - - - - - - - - - - - - - - - - - - - -----, B 1 - -Kenii: < -::> ! I Ku! (sound m ade in the back of throat) Sound FX:

Y ·:; Da! (sound of foot hitting ground forcefully when running)

l

• ue is a colloquial form of quotative to . and irre mo (fromiu, "say") isaconditional,''evenif you say." When to is used at the beginning of a sentence like this, it re fers back to the last thing said: "even if you say that/so you may say. but . . ." • oitsukenai is the negati ve of oitsukeru, the pote ntial ("can/able to") form of oitsuku ("catch up"). • ku is not a standard interjectio n or exclamation, but rather a sound that reflects his great exerti on and/or determination. • dada dada re presents running, and a sing le da represents taking off at a run - or if already running. a new burst of speed/effort.

(contmued on followmg page)

Mangajin 67

;.,. ~ - t- 1 • Shoot!

68 Mangajin

:/ ~ - 1-! • Shoot! (etmtinuedfmm prrrilllt\ pa~l')

Sound FX:

I { ·;

Ba! (effect of sudden, vigorous/dramatic action- here of Kazuhiro leaping into Kubo's path)

To hi: '¥ 11~

-/)t ill ~

Hiramats11

\-·:n \ t.: .f, -

ga

!

• oits11ita is the plain/abrupt past fonn of oits11k11

oits11ita!

(""catch up"").

(surname) (>ubj.) caught up "Hira matsu 's caught him !" (PL2) Kazuhiro: /rl!t

li

Mlil.!.:

Kondo II"O kalllan ni thi~ lime a\-for ea>ily

t~-IJ'it'-' mrka~em

i>A.

I n'!

• n11kaseru is the causative (""make/ let"") form of mrku (""pass/outrun/

get past"").

111011 ka! thing ('!)

let get b) ·'No way will I let him get past me so easily this time!"" "No way is_huoing to get by me so easily this time!" (PL2)

• .•. mo11(o) ka after a non-past

verb makes an expression like •·no way will I ... /by no means will I .. .'' (See Basic Japanese No. 36)

Sound FX: -If 'I Za.' (abrupt scraping sound of shoes on ground as he plants himself in position) Kazuhiro:

::¥ ~ ' !! Koi! come '·Come on!" (PL2)

• koi is the abrupt command fom1 of kuru ('"come""). In face-offs like thi . it can signal readiness for battle. or simply be a shout to help the speaker focus his energies on the challenge.

(B

Kazuhiro: .1:'1'-.U fl) !VJJtt 1.: :'.3h~il.t':,'(>i.'ltf..:~'o (thinking) Jiilw111ilin no ugoJ..i ni madau·asarec/w ikenai. upper lxxl> of 1110\CITh.'lll b) mu\t not be confu-cdlmi~led ""I mu~t not be misled by his upper body movements." " I can ' t let his uppe r body movements fool me." (PL2) • jlilwnsllin is literally ""upper half body'": the word for ""lower body"" is r· 'l'-4kailansilin . • ugo/..i i' a noun form of ugoku ("move''). Jiilwmlri11110 ugoki =""movements of the upper body... • madmrasareclw i\ a contraction of madowasarete ll'O. the pa~sive -te fom1 of madmmsu ("confu e/perplex/ mislead"") plus u·a. The pa11ern -te u·a ikenai make~ the "muM not-·· form of verbs, so madowasarete rva ikenai =""must not be confused/mi'iled/fooled...

~

Kazuhiro : /f ;t 't' (J) 7 v- 't' b 1!' ·:>f.: -f' (thinking) lma mtrde 110 pure de wakaua :.o. now until of pia) (mean>) under~tood (emph.) ""I have understood from his play until now." " I've ligured out from watching his play_so far." (PL2) Kazuhiro : :.. (J) A (J) 'ii!IJ:E li 1i: t! (thinking) Ko11o lriw no jiJ..u-aslri u·a lridari dtr. thi; pcr-on/guy ' P" ot foot a'>-for left " " T his guy's pivot foot is his left." (PL2) • pure. from English "play:' is a noun in Japane~e. though it can be tumed into a verb by adding sum ('"do"). • wakaua i., the plain/abrupt past form of wakaru (""come to know/understand"). De mark~ the preceding as the mean., of the following action. ~o imamade no p11re is the means by which he has "come to understand (some• :o is a rough/masculine panicle for emphasis. thing).'" • jiku-aslri ("axis/pivot"+ "foot/leg") refers to the foot/leg that is not his kicking/striking foot.

~

rJ~· ~ Kazuhiro: )i_ A. t!! J:< ~J., (thinking) Hidari lri:.a 0 yoku mim nda! I.. nee (obj.) '"ell look at/" a1ch (cxplan.) left ''Watch his left knee well!'' " I've gotta keep my eyes on his left k nee!" (PL2)

FX: of

'I

K''

'· of focusing sharply on something) (effect

@]

FX:

• yoku is the adverb form of ii/yoi (""good/

•

fine""). so it means ""(do something) well/carefully."" 11 dais a contraction of the explanatory no plus da ('•is/are"). A non-past verb followed by a firmly poken 11(0) da or n(o) desu can serve as a command. In this case he is issuing the command to himself.

71 K11i

(subtle movement of knee)

@]

FX: -+r ''I Sa!

(effect of quick movement) t,t r Kazuhiro: Jr. (thinking) Hidari da! ""h's left!" "He's going left!" (PL2)

Mangajin 69

~ .:1 - ,. L ·I

• $ hoot!

aj:f

I

70 Mangajin

;,.

~

-

I-! • Shoot!

FX: ;J.. ·;; Su! (effect of s mooth, quick, deft movem e nt- o nce again, of s lipping past his adversary)

Toshi: lj: t: ?! Nani? what?

'&)(f) ;fDJt -/;{ . .. A no Kazuhiro ga .. . that (given name) (subj.)

"What?! That Kazuhiro . .." (PL2) -/;{ Toshi: -Ttf- ! it.:. 'ff'~

.

f''! tldd'Lt.:. Suge! Mata Hiramatsu ga nukareta ~o! amazing/incredible again (surname) (subj.) was overtaken/passed (cmph.) " Incredible! Hi ramatsu was overtaken again." "Incredible! He !!Ot oast Hiramatsu again!" (PL2)

nukareta is the past form of nukareru ("be overtaken/passed"), the passive form of nuku ("overtake/ pass/get around").

Kazuhiro: -t- .. . i' lv lj: ! So-sonna! th- that kind of

.

Lt ti?! !lllJ:t Jiku-ashi \VQ migi?! pivot foot as-for right

''Th- that can't be! Is his right his Qivot?" (PL2) sonna (lit. "that kind of') can be used by itself as a generic exclamation of dismay/astonishment: ·'That can' t be/that's impossible!"

m.::E c

Kazuhiro: i? -/;{-? ! '&)(f) A

-/;{ flj ~J:t (/) [R~IJ lj:" \ lv t.! 0 ~= ';J: Chigau! A no hito IIi wa jiku-ashi 10 kiki-ashi 110 kubetsu ga nai 11 da. different/no that person to as-for pivot foot and striking foot of distinction (subj.) not exist (explan.) " No! T o that person, there is no d is tinc tio n between pivot foot a nd striking foot."

.. .. .

"No! For him there's no distinction between his Qivot foot and his striking foot." (PL2) chigau is literally "diffe rent." but it's often used to mean " no. that's wrong/it's not that way." kiki is the stem form of kiku, meaning "work/be effective:· so kiki-ashi is literally "working foot." In soccer it refers to " kicking/striking foot." Kiki-ude (which generally means one's "dominant hand'') refers in baseball to one's "pitching/throwing arm:· (Similar terms include hidari kiki, or " left-hand~d," and migi kiki, or "righthanded.") kubetsu ="distinction," and A to 8 no kubetsu ="distinction between A and B." nai ="not exist/not have''; in the paHern ... ga nai it's often best thought of as "there is no ...•· he uses the explanatory ending 11 da because he believes he has figured out the explanation for what has just happened.

Toshi: i, it.: .7d!H~!v

-J;t 71) Ma- mata Kubo-san ga Jurii a- again (surname-hon.) (subj.) free

t_t l

da! is

"Kubo's broken free again!" (PL2) f''! Toshi: ;,..:z.-r .;r_l) 7 I: A.~ Sht7to eria ni hairu zo! shoot

area

into will go in (cmph.)

"He's gonna get into shooting range!" (PL2) • furii is from English "free," and shiito eria is a katakana rendering of English "shoot(i ng) area" --+ "shooting range."

Nitta:

< -? ! Ku! (exertion sound in back o f throat)

Toshi: "''~, i? i;{ 7 0 lya, no

chigau. different

"No, he's not!" (PL2)

Mangajin 71

~~

?:A '/ 7

7-i 7'

Jv

! ! t:'

1 ~

7''

12 Mangajin

_ 1-1 • Shoot!

~ ~

-!Jf

Toshi: 'fti~

go

Hiramatsu

(subj.)

(surname)

- t- I • Shoot!

~~,-?~'l

l.> ! oirsuite-ru!

has caught up

"Hiramatsu's cau2.ht up!" (PL2) Sound FX:

;X-1f7

Zuzii (sound of sliding on ground)

Toshi: ::Z7171 /7.

~

Suraidingu sliding

. Toshi:

·:; 7 )!..-

t! '!

takkuru

da!

tackle

is

" It's a sliding tackle!" (PL2) oirsuire-(i)ru is the past participle ("'has-'') form of oitsuku ("catch up"). Though English "catch up" can refer to the entire process of catching up. Japanese oitsuku refers to the moment when one actually "catches up to/ pulls even with" the object of one's pursuit. For a "momentary verb" of this kind, adding iruto the -te form makes a past participle ("has -ed'') rather than a progressive ("is/are - ing'') verb. ~ -t-!Jt

Sasuga

-fV') ~ ~ ...

tDit! Kazuhiro!

Sono mama ...

befining (given name) in 1ha1 manner/state

. .

"That's our Kazuhiro! And from there . .." ( PL2) sasuga implies the action is befitting of Kazuhiro, and lives up to what one would expect of him. (See Basic Japanese No. 3 1.) sono mama literally means ''in that same state/manner:· but is used idiomatically to mean ''immediately/directl y... The implication is that some subsequent action should follow immediately from his slide- as indeed it does below.

Sound FX: t-/ Ton

Iru!

(effect of Kubo tapping the ball gently from below to raise it s lightly off the gro und)

Toshi: ;f'- )!..- ~ I i$-IJ>-\t t..:?! Boru 0 ukaseta?! ball

(obj.)

made noal

"He floated the ball?"

.

"He uo1med the ball UJ!?" (PL2) ukase/a is the plain/abrupt past form of ukaseru, the causative (''make/let") form of uku, "(something) floats/ lifts up (into the air)."

Sound FX: 7f ·:; Ga! (effect of Kazuhiro's foot s triking the unde rside of the ball)

Inter v iew (cowinuedfrom page 35)

volvement with the magazine at that time was the most concrete outside factor in my decision. That, and a more ne bulous knowledge that, what with the rising prominence of Japan in world economics, there was plenty of commercial translation out there to be done. But really, nothing drew me away; I was driven away by partic ular proble ms associated with the position I then held, and by my longstanding discomfort with the two-way pull of teaching and scholarship demands in academia-including its lack o f respect for translation as a fully c reditable schola rly activity. The de mands of teaching had in fact left me with precious little time to trans late. The

argument that had persuaded me to go into an academic career had proved false for me, so it was time to try something else; it was time to try returning to the course l had originally planned. l expected to bone up on a specialty or two a nd become a regular comme rcial/technical translator, alo ng with expanding my work for Mangajin, but as it happe ned, I got a commission to translate Goka Shohei 's Furyoki ("POW Journal"), a very long novel that I've only recently finished . So be tween that a nd Man gajin, for the time being at least, I've re mained a literary a nd cultural tra ns lator. The next project I' m planning is Shono's most important

novel, Yilbe no Kumo ("Eveni ng Clouds"), but unless I can get som e grant money for that, I may well be at the point where I need to diversify into some commercial area.

Do you think you'll ever go back to teaching? I enjoyed teaching a lot, but translation is really my first love. Under the right conditions, if I thought I could make the original a rg ument that took me into teaching in the first place work for me, I might go bac k into the classroom. In the meantime, I like to think of Mangajin as my c lassroom and the magaz ine's 30,000 reade rs as my students.

I'BJ ~)l'

Mangajin 73

, /~

_

r • Shoot!

c • 1'

.A ..r'\' !;t t o '/ ~

::..--7

!?

74 Mangajin

:::.. ~ - 1-! • Shoot!

Yalta!

Hiramarsu ga kuria shira!

did

(surname) (>ubj.)

cleared

"All right! Hiramatsu clea red the ba ll!" (PL2) Sound FX: ;:( ;:( X ... Zu ~~~ :u (effect of sliding on ground) Sound FX: :f- / Piin

(effect of ball or other object being tossed/flying through the air) • yarra is the plain/abmpt past form of yaru (''do"), so it literally means " (Uwelhe) did it," but one of its most prominent uses is as an exclamation of joy. ''Airight!/Yeah!/Hooray!" See Basic Japanese 13. • kuria is from Engli h ''clear." and kuria slrita is the past form of the verb kuria suru (''to clear").

@J

Kazuhiro:

(!)

7d¥ ~ lv

tJ~

:.. lv t:t 0 -:>

Ba- baka-na!

Ano

Kubo-san

ga

konna

f.. foolish/crazy

that (sumame-hon.) (subj.) this much

1 {,

1\71

t:.:!

0

~ I? ... ?!

assari ... ? easily

''ILcan' t be! For the great Kubo to so_easil • •_/' (PL2) • baka-na = "idiotic/ foolish/crazy,'' so as an exclamation it's like "That's crazy/impossible/can' t be!" • ano Kubo-san is literally ''that Kubo-san:· meaning the one everyone knows is so great. • konna in this case is short for komw-ni. " this much/so:· and assari =··easily/effortlessly.'' so komw assari = " so easily."

Kenji: -T 1 A

fiJJt!

Naisu Ka:.ulriro! nice

(given name)

" Nice goin_g, Kazuhiro!" (PL2) Sound FX: )f' / Da!

(effect of Kenji dashing forward to grab the cleared ball) Kenji:

'v' t:. t.3.1~ !

lwdaki! will receive

" It's all mine!" (PL2) • iradaki is essentially a tmncated iradakimasrt, the PL3 form of iratlaku (''receive/will receive"); the truncated form drops to PL2 .

Kenji: .Z?! £ ?!

"Huh?" (PL2) Sound FX: .::f .:z. Jt.- Jl- JlGyu ru rum

(effect of backspin on ball as it hits the ground)

~

Sound FX: A -

"I

Sii!

(effect of smooth, rapid movement Ken ji: '/;t-:>!

of ball bouncing back the way it came)

;\ ·:;'/A~/?!

Na!

Bakku supin?!

wha?

backspin

" Wha .. . ? (It had) backspin?!" (PL2) Kenji: li-:>! Ha! (intcrj.)

"Ai!" (PL2) • Ira' is an interjection of sudden awareness.

~

Sound F X: ;\·:; Ba!

(effect of sudden vigorous/dramatic move by Kubo)

Mangajin 75

76 Manga~m ··

~~-t-I • Shoot!

Sound FX: A

J

Su!

(effect of smooth. quick action- here of moving in for the strike) Sound FX:

A"., Supa!

Whop! (crisp kick of the ball)

J - L eague (crmtint~ed.li"fllll flllge

60)

may be necessary to go all the way back to Babe Ruth. In 1934. shortly after his release from the Yankees. Ruth led an immensely popular seventeen-game all-star tour that inspired the beginning of Japanese pro baseball. Japanese players in the J-League also lead a different life from their baseball counterparts. Most J apane~e ballplayers are like salarymen in uniform: cogs in the machine of the sponsoring corporation. Many team~ have rules about player conduct and grooming. Most players are very businel.\like on the fie ld. and a neatly trimmed mustache is a bold symbol of individualism. There are a few lico's Theory of Leader- new-ge nera l ion ship, by the respected ballplayers who former Antler show some flair. such as star outfielder Akiyama Koji. who occasionally does a trademark running flip across home plate to punctuate a big home run. But Akiyama's antics arc on the wild side of Japanese baseball. and they pale against the colorful JLeaguers. When a J-League player scores a goal. his celebration may include jumps. flips. hip-wiggling. and waving hand gestures that defy polite description. Some J-Leaguers make ational Football League touchdown celebrations look demure. In the grooming department. most J-League player:. are reasonably clean-cut. but some are less conventional. Twenty-two year old Abc Yo~hinori of Verdy Kawasaki has dyed hair and earring~. Hi\ 26-year-old teammate Kitazawa Tsuyoshi has hair that hangs near his shoulders. In Japanese baseball. tho~e styles are as likely as multi-colored mohawks on salarymen.

A new attitude The J-League ·s more relaxed attitudes about foreign players. namboyant scoring celebrations. and radical hairstyles are all part of its carefully crafted image. J-League teams are not bur-

de ned with the duty of representing the straight-arrow values of a l.ingle sponsoring company. The teams play to entertain the fans and make money. and they"re doing both very well. JLeague ~occer is extremely popular with the shinjinmi (the "new breed"'). Japan's fun-loving generation of teens and twentysomethings who grew up during the prosperous 80s. But Japan i~ a land of booms and fads. particularly among young people. The looming question is whether J-League popularity wi II la\t. One of the strongest factors in its favor i~ Ka\\ abuchi'" philosoph} of local support for every team. in the form of .,pon).Or Saigan Ryohei. All righ1s reserved. Firs! published in Japan in 1990 by Shogakukan. English 1ransla1ion righ1s arranged through Shogakukan, Tokyo.

80 Mangajin

OJ

Narration: Soshite mata .. .

And then again .. . Another Day . . . Sign: Katsuragi Hana Ten

Kats uragi Flower Shop

0

Ippei: (off panel) Kyo no eiga

11·a

nan 1w no. oniichan?

" What're the movies today, Roku?'' (PL2) Roku: "Gemwma ni Te o Dasu 11a" to " Han::.ai-o Kapone" sa.

'"Don' t Touch the Loot' and 'AI Capone, King of C rime'." (PL2) • oniiclwn i\ a polite but informal version of niisan. literally meaning ··older brother." Children often u~e tmiiclum to addre~~refer to older boys and young (unmanied) men they I.. now relatively well. • gennamn i~ a slang word for gen/..in ("money/ cash"). which is the proper reading for the kanji .!Jl~ .

• te = " hand" :md dasu = "put oul'': reo dasu is literally "put/reach out one·~ hand." which idiomatically means "touch/go after/meddle in." Na mal..es a negative command. '>O teo dasuna ="don't touch/keep your hand'> off."

W lppei: " Kendama ni Teo Dasu na" ntmte hen-1w eiga da 11e.

"' Don' t Touch the C up a nd Ball ' is a strange (name for a) movie, isn' t it." (PL2) Roku: Ha lw lw. gennama da yo. O-kane no kolo sa.

"Hah hah hah, that's ' loot.' It means 'money'." (PL2) • kendama refers to a "cup and ball" toy of the kind pictured. Because he b not familiar with the word gemwma. lppei hear'> the similarsounding J.endama and mi\tmderlare making scary face~" • "ha\'e scary looh (on their faces)."

IIJ

Roku: Wakaua. Chodo gyangu eiga o mite, dete kita n da yo. " I get it. They just came out from seeing a gangster movie." (PL2)

lppei: Na-n da.

" Ohhh. (So that's all it is.)" (PL2) Sound FX: J i ri ri ri ri ri Rinnnng (sound of bell signaling lhc impending start of the next show) Over & Next to Billboard: Yiihi Kinema

Sunset Cinema Billboard: Han::.ai-o Kapone

AI Capone, King of Crime

CeiiiiG/1/a

ni Te o Dasu 110

Don' t Touch the Loot (lilm titles)

Mangajin 81

GJ

On Side of Buildin : (partially obscured) Yuraku Tea(toru) Yiiraku Theater Billboard: (partially obscured) (YL7raku) Teatoru Minami Taiheiyo Yiiraku Theater South Pacitic Si n Over Entrance: Joei-chu Film in Progress Right of Entrance: (partially obscured) Rodo sho Minami Tai(heiyo) Exclusive Engagement: South Pacific • rtfdo sho, from English "road show," when seen in movie advertisements, refers to the "exclusive engagement" of a movie at a major theater prior to the film 's general release. The name Yiiraku Theater here is intended to suggest a movie house in Yiirakucho, near Ginza, which is home to quite a few major " road show" theaters.

~ Characters on Screen: Pera pera pera ... I Pera pera. (effect of speaking a foreign language fluently) • pera pera is normally used when a foreigner speaks Japanese fluently, or a Japanese speaks another language fluently, but here the implication is simp ly that the characters on screen are speaking English.

0 ~:

Oklichan ga tsurete kite kureru eiga, itsumo anmari omoshirokunai ya. "The movies Mom brings me to are never very interesting." (PL2)

• tsurete kite is the -te form of tsurete kuru, "' bring (someone) along." Kureru after the -te form of another verb implies the action be nefits/is done as a favor to the speaker/subject. Okachan ga tsurete kite kureru is a complete thought/sentence ("Mom brings me along") modifying eiga ("movie/film"'). • itsumo = "always," so when followed by a negative it often becomes "never.'' • anmari is a colloquial amari, which before a negati ve means " not very." • omoshirokunai is the negative of omoshiroi ("amusing/funli nteresting" ).

[I] IImei: Fufufu, ko iu toki no tame ni himitsu heiki I Shinekoruto o motte kita n. da. ''Heh heh heh, it's for times like this that I brought along my secret weapon, the Cine-Colt." (PL2) • no rame ni is literally " for the purpose or· " for." • molle kita is the plain/abrupt past form of molle kuru, "bring (something) along."

~

SoundFX: Pa! Kachi! (abrupt/sudden effect, and click of triggerswitch) Title: Maboroshi Tantei Phantom Detective

82 Mangajin

• pa! is used for a wide variety of rapid/abrupt actions, including a light

coming on or going out. Here it's the effect of the image suddenly appearing.

[§] IQpei: Ano hito no atama ni utsushite yare. "I'll project it on that man's head." (PL2)

Sound FX: Kachi!

Click!

Sound FX: Da-n! Bang (sound of shooting gun written as sound FX on projected image) Mother: lppei! Nani shite-ru no? Yamenasai! "Ippei! What are you doing? Stop it!" (PL2) • wsushite is the -te form of utsusu ("show/project [an image]"). and yare is the abrupt command form of yaru, which after the -re form of a verb can mean either ''do for'' or "do to" someone.

_ _ __ _ _ _ _ _ _ _ __ _ _ _ _ _ __:7 _f:.:.; Yt:_t.:_ t(!) --"~;f -=-· Yuyake no Uta

ITJ 0

Sound FX:

Kasha! (the click of the mechanis m that changes the s lides)

W Mother: lppei, fii(J ii desho. "That's about enough, is n ' t it, lppe i?" (PL2) Im~ei:

MiJ hitotsu mitai ro-! " I wanna see one more!" (PL2) Signs (Right to Left):

Kachi-kachi Yama I Shinerama I Jil-en CrackJing Mountain I C ine rama 1¥10

lssunbiJshi I Shinerama I Jll-en Little One Inch I C ine ra ma I ¥10 Norimono Rides

• mo ii is literally ·'already good/fine,'' meaning "that"s enough." In this case adding the conjectural desho essentiall y makes it a question: ''that"s enough, isn't it?/you've had enough, haven't you?·· • Kachi-kachi Yama and lssunbihhi are the titles of well known Japanese folk tales. The scenes pictured in the previous two frames are of"Little One Inch" going down the river in a soup-bowl boat with a chopstick oar, and of him getting ready to subdue a giant oni (''ogre") with his needle sword. • norimono here refers to "kiddie rides ... This is a small "amusement park" for kids on the roof of a department store.

8J

t.:il!t..~ ~A... ~ / (misllin). it specifically means ..~ewing machine'': in other cases the word is rendered 7 ~ / (mashin) or 7 ~ - / (maslliin). Uonome (lit. ··fish eyes'') is a play on the rea l sewing machine brand name Janome (lit. '"snake eyes..).

W Friend: Omoshirokatta eiga wane lyappa ri ··Cojira no gyakuslu7" sa.

'The movie that was fun was, well. after all, 'Godzilla's Counterattack. '"' "The movie I liked best was, definitely, ' Godzilla's Counterattack'." (PL2) Angirasumo deta shi.

"Especially since Angirasu appeared, too." (PL2) • yappari is a colloquial rahari. ··as you might expect/after all/in the end."' It sometimes has the fee ling of "definitel y/for sure." • shi is moM commonly thought of as an emphatic "and/and be~ides/and moreover:· but here it" s an emphatic "sincelbecau e·· - • "e~pecially since:· • sa is u~ed for emphasis in informal speech. mostly by males. It o flen takes the place of da/

desu ("" i~/are" ).

W Ippei: "Kai}t7 Baran" "Marango" mo yokaua yo.

"'Varan the Unbelievable' and ' Matango, Fungus of Terror' were great, too." (PL2) " KycJ.fu no Ekitai Ningen" ni .. Uclu7jin To/.rriJ ni Arawaru" mo.

" And ' T he Terrifying Liquid Man' and 'Space Aliens Invade Tokyo,' too." (PL2) • Daikaijtl Baran is the correct title of the first film. literally "Great M onster Varan:· • armmru i~ an archaic form of armmr eru ("appear/~how up'").

0

Boys: Gaikoku no de wa "Ama::.on ga kowakatw 11li.

110

Hangyojin"

"Among foreign films 'Creature from the Black Lagoon' was really scary." (PL2) Aro, " HiJshaniJ Ekkusu" ni " Tomei Ningen... "Uclu7 Senso. ··

"Also, ' Radioactive X,' 'The Invisible Man,' and ' Battle in Outer Space'." (PL2) • no here implies no eiga, and gaikokuno eiga = "foreign film(~)." No between two nouns makes the first noun into a modifier for the second. and where context makes the meaning clear. the second noun can be left understood like this. • koll'al.aua i~ the past form of kmrai ("scary/ frightening"). • ato, literally "after:· often mean~ "abo/and besides that/as for the rest. ..

W

Sign: Tobidasu! I Surii-dii eiga. I Sanjigen rittai! It leaps out at you! I A 30 Film. I Three dimensional! Gaikotsu-men: Kyofit no Taiken! Skullface: A Terrifying Encounter! • jigen = "dimension:· so sanjigen ="three dimensional.. : riuai means ..solid.. as opposed to "flat/planar." so it also essentially means ..three dimensional."

• raiken refers to a "personal/first hand experience"-> "encounter."

~ Friend: He-! Riuai eiga da tte sa.

" Wow! It say it's a three-dimen ional film." (PL2) lpgei: Holllo ni tobidasu no ka nli!

" l wonder if it really leaps out at you?" (PL2) • lte is a light exclamation. like "Gee!/Wow!/How about that!.. -

the speaker is impressed. 84 Mangajin

showing that

OJ

lJ!pei: No::.oki megane de miru 10 ningyo-geki ya _wl enclli no slwshin nanka ga rittai ni mieru no ga aru kedo, "There a re pictures of puppet shows and amusement parks and things that look three-dimensional when you look at them through a ViewMaster, but ..." are to onaji ka na? "1 wonder if it's the same as that?" (PL2) • 11i11gyiJ-8eki ya yiienchi no slwshi11 ga riuai 11i mieru is a complete thoughtAentence ("'pictures of things like puppet shows and amusement parks look three-di mensionar ·). and 110 is a ·nominalizer· th at turns the entire thoug ht/sentence into a noun: ga then marks that noun as the subject.

liJ

Friend 2: Rittai eiga nara mo. ore mita yo. " 1 already saw the 3D movie." (PL2) Tennen-slloku ja nakatta kedo sa ... " It wasn' t in full color, but ..." • 11ara after a noun is a conditional " if it is'' - imply ing "if it is X you're talking about. then ..." It's often essentially similar to wa c ·as for X"). • in spite of the periods. thi~ ~entence continues through the first 2 speech balloons in the next frame.

@]

..

.......

'J 'J

Friend 2: aka to ao no serohan no IIane aru megane o kakeru to ne .. . "when you put on glasses with red and blue cellophane pasted in, ..." eiga ga tobidashite mieru 11 da ::.e.

'I ~

"the movie appears to be leaping out."

''the movie looks like it's leaping out at you." (PL2) lppei: Fan.

" Really?" (PL2) Friend 2: Hora. mae ni manga :,aHili no furoku ni tsuite kita rittai manga to mwji sa. "You know, it's the same as the 3D manga that once came as a special insert in the manga magazine." {PL2) Arrow in Balloon: Aka to ao de ::.urashita eo imatsu sum. (They) print shifted picture!> in red and blue.

(They) print the picture twice, in red and blue, with the image slightly shifted. (PL2) • aka to ao 1111 sero/wn 110 hcllte aru is a complete thought/sentence ("red and blue cellophane [lenses J have been pasted") modifying meKa11e ("glasses" ). The firM 110 makes aka w ao into a modifier for serolum ("cellophane"). and the 'econd mark~ serolum as the subject. like ga (thi~ ga often change' to 110 in modifying clnu.,e\l. • tobidlllllite is the -le form of robida.111 ("jump/leap out''). the · le form here mak ing an adverb for mien.1 ("can ~ce").

• j'ii11 is an interjection showing interest/understanding: ··Really?/Oh ycah?/1see...

• f uroku refers to " supplements/inserts" that are sometimes inc luded with magazines -

especially children's manga mngazines.

• tsuite is from 1.111ku ("be anached"): tsuite kita ="came attached"

"came

w ith."

• :urashita is the plain/abrupt past form of ::.urasu ("to shift!~! ide \ideways").

[I]

lppei: Riuai eiga ka. Omoshirosi5 da nli. " A three-dimensional movie, huh. Sounds like fun." (PL2) Sassoku oniichcm ni tanonde misete morao 110 . " I' m gonna ask Roku right away, and get him to take me." (PL2) • omoshiroso comes from omoshiroi ("amu~ing/fun"). Thi~ - sii da ending of an adjective implie~ "soundllooks like it is/will be." • misete is the -le form of miseru {"show"). nnd morao is a shortened morao. the volitional form of morau ("receive"). Morau after the -te form of another verb implies the action is/was/will be done by someone else for the benefit of the speaker/subject. either spontaneously or by request. When the voli ti onal forn1 is used. it implies "will ask (someone) and get (him/her to do the action)... (colllinued 011 fll'.\1/)a.~t')

Mangajin 85

:>'1.lHtQ>I~

ITJ

• Yayake no Uta

Iru>ei: Chef Uso tsuita na. IZI!nzen tobidashite nanka inai ja nai ka. " Da rn it! He lied! I It doesn' t leap out at

all." (PL2) • chef is an exclamation of disgust/chagrin, a liule rougher sounding than "rats!/dang!/shoot !/sheesh !" but not obscene. • 11so = lie:· and tsllifll i~ the plain/abrupt past form of tsuk11: 11so (o) ts11k11 means "lie" or "tell a lie." • tobidmhite is the -te form of tobida.\'11 Cjump/leap out"). and tobidashite ... inai is the negati ve form of tobidashite-iru ("is leaping/j umping out"). Nanka is a colloquialnado ("things like/do things like"), but inserting it l ike this mainly gives emphasis - in thi s case emphasizing the speaker's disappointment/disgust. • ja nai ka is a rhetorical question. expressing strong disappointment/irritation.

!IJ

Roku: Sore ja megane ga hantai da yo. " If it's that, your glasses are backwards."

' 'You've got your glasses on backwards." (PL2) Hidarime ga ao de migime ga aka sa.

"The left eye is blue, and the right eye is r ed." (PL2) • sore ("that") here refers to the way lppci is wearing his glasses, so sore ja essentially means ·•i ryou wear them like that."

• lumwi ="reversed/backwards"

@]

Sound FX: Wii'!

Kyli!

Yikes! Aaack! Sigrl: Kin 'en No Smoking IJ!~ei:

Wa! Ho/116 da! Tobidashite-ru!

"Wow! It's true! It leaps off the scr een!" (PL2) • tobidashite-m is a contraction of tobidashite-ir11. from tobidasu (''jump/leap out"). ~:

Omosftirokatta kedo mega tsukareta yo.

"That was amusing/fun, but my eyes became tired." "Tbat was great, but it really stra ined my eyes." (PL2) Sound FX: Ji ri ri ri riri

Rinnnng (bell for start of next show) FX: Can gem (effect of pounding headache) • tsukarew is the plain/abrupt past form of ts11karem (''become tired").

~

J'icket La dy: Arigat{i gozaimashita.

"Thank you for coming." (PL4)

86 Mangajin

(colllinttedfrom (lfl'IWttf pagr)

~ Billboard: Gaikotsu-men I Niku no Rii-ningyiJ I Binsento Puraisu

I House of Wax

Skull face

I Vincent Price

~ Sound FX: .li ri ri ri ri ri ri

Rinnnng (sound of bell signaling the impending tart of the next show) Jii

Whirrr (sound of projector, presumably just gelling started - since the bell is still ringing) Mogu mogu

(effect of chewing) Sign: Deguclli

Exit

OJ

Roku: Ano . .. mae ni ita anna no hito wa do shira n desu ka? " Uhh, excuse me .. . what happened to the girl who was here before?" (PL2) Hora, chouo Asaoka Ruriko ni nile-iru . .. "You know, the one who looks a little like Asaoka Ruriko." (PL2) • ano is a shortened ano, which is a hesitation word •

•

•

•

0

simi lar to " uhh/um.'' It's often used to get someone's attention, essentially like "Excuse me." ita is the plain/abrupt past form of iru ("exist/be [in a place]"). Mae ni ita can mean either ''was in front of' or ''was here before." in thi s case the latter. Mae ni ita modifies onna no hiro ("girl! woman" - l iterally ·'female person"). hora is often used to call a person's attention to something, like "here/look/see/watch"; when calling attention to something abstract/not present, it's more like a ··you know.'' Asaoka Ruriko is an actress who became very popular i n the late 50s and early 60s; she remains popular today. nire-iru = "resembles/looks like"

Ticket Lady: A, ano ko dattara, senshil yamera wa yo. "Oh, that girl quit last week." (PL2) Roku: £! Yameta ? " What? She quit?" (PL2)

ii\o/i,l~ 11)-? ~

lli;t::tt t.: lv "(

• L: t&< '(> !!ti" '.; t.: ~·

-/J'

b

L~ .f' £~tl.

?Ul J:.l t:~*

• t: '

~ i\ ~ ~ ()f.

.f~ t/)

-c

• dauara is a conditional " if it is/was": like nara above, it literally implies "if it is X you' re asking about," and can be thought o f as essentially like the topic-marker wa ("as for X''). • yamera is the plain/abrupt past form of yameru ("quit/resign").

IIJ

Ticket Lady: Eiga suta ni rwritakute hitori de dete kita rashii kedo, kek/..:yoku dame de ne. " She apparently came (to Tokyo) alone, wanting to become a movie s ta r, but it didn' t work out for her in the end. (PL2) Hansamu na daigakusei to issho ni kurashite-ta kedo, sore mo wakarete. "She was living with a handsome student, but she broke up with him, too." (PL2) Yume yaburete kuni ni kaetta n ja nai ka ne. kinodoku ni. " I suppose she went back home with her dreams shattered, the poor girl." (PL2) • dete kira is the plain/abrupt past form of dere kuru ("come out''), here implying " come out of the country i nto the city''-> ··came to Tokyo." • the kanji MOl$ (meani ng ''birthplace/native place/old home town" and more properl y read either kokyr) or furusato) clarify the meaning of kuni ("home town").

8J

Sound FX: Zli! (sound of steady downpour)

FX: Gakkuri (effect of being disappointed)

0

Nar ration: Roku-san no o-meate wa doyara Yiihi Kinema no mogiri no onna no ko dana yo da. Roku-san's real purpose (for coming) was apparently (to see) Sunset Cinema's ticket girl.

Roku' s real interest had apparently been the ticket girl at Sunset Cinema. (PL2) Sore irai, Roku-san no eiga-zuki wa kage o hisomete shim.alla. After that, Roku's great love of movies vanished without a trace. (PL2) • meare ='·purpose/aim"; the honorific o- is often added even in informal speech. • diJyara typically pairs up with a conjectural form later in the sentence (here, yo da) for the meaning ''most likely/apparently.'' • hisomete is the-re form of hisomeru, and ka!ie o hisomem, literally something like '·conceal one's shadow," is an expression that means " vanish/ disappear''- used not only of people but also of abstractions like eiga-zuki ("fondness for fi lm"). Shima/la after a -re form has several meanings, but in this case it implies the action took place thoroughly/completely.

Mangajin 87

CD

Ippei: (thinking) Oniichan. konogoro chiuomo eiga ni tsuretette kurenai lUI. " Roku never takes me to the movies any more." (PL2) Signs: (partially ob cured) Sakai Yohin (Ten) Sakai Haberdashery Kiue I Tabako Sta mps I Cigarettes • clliuomo is a colloquial/slang equivalent of ::.en::.en. which combines with a negative later in the ~entence to mean "not at aJI." • konogorn ="recently/these days·· - • "any more." • lwretelle is a contraction of /surete iue. the ·te form of tsurete iku ("take [someone) along"). and l..urenni is the negative form of kureru. which after the -te form of another verb implies the action is done for the benefit of the speaker/ subject.

liJ

Friend : Oi. Yll-clwn chi de eiga yaru ue sa.' " Hey, Vii-chan said (he's) gonna show a movie at his house!" (PL2) • oi is an abrupt "hey!" or "yo 1" for gelli ng someone·s auention. and oi, with a long vowel. b for trying to get the auention of someone rela1ively far away. • Yti-clran chi is a colloquial comraction of Yiicllan no uclli, ·'Yii-chan · s house." • de marks the location where an action takes place/will take place. • yam is an informal word for "do:· so eiga (o) yaru i~ literally "do a movie" ~• '·show a movie." • ue is a colloquial equivalent of to. to mark a quote.

I1J

Sound F~: Kaslw kasha kashtt (whirring of film through projector)

0

Sound FX: Kasha kasha kas/w (whirring of film through projector)

[I)

On Billboard: Burt/ Hawai I Embisu Puresurii Blue Ha waii I Elvis Presley On Painter 's Hat: Maruei Kanban Ma ruei Signboards O ver Ticket Window: (partially obscured) RriJkin(-/n·o) I 01ona I Gakusei I ShiJnin (Admissions) Fee Chart I Adults I Students I Children Lower Rigb!: (partially obscured) A ki111010 Den(k i) Akimoto Appliances Lower Left: Honjitsu Kytlkan Closed Today

88 Mangajin

• a kanji in~ide a circle is often (though not always) read mam- . so we've read the circle with ~ (ei) inside it as Maruei. which could be either the official name or a nickname for the company. Since ei i~ the first kanji in eiga ("movie/fil m"), we gather that this sign painter works for a company specializing in movie billboards. • n·okin ="fee/fare" and in'o ="chan/table/schedule." • the word ,J, A shonin for. "children" is restricted to schedules of admi sion fees and tran\ponation fares. These same kanji can be read kobiw. in which case they mean "dwarf/midget," or shiJjin. in which case they mean "insignificant/small-minded person." • lwnjilsu ~ounds more formal than kyo ("today"): it's the preferred word for "today" on ~ignsllliers and in public announcements. • kyiikan is written with kanji meaning "rest" and "hall:· and i\ the word for "closed" used by public hall\ (kaikan). theater\ (eigakan). mu~eUim. (lwkubwsuka11: bijutsukan). aquariums (.mi::.okukan), and any other building with a name ending in -kcm.

Nani1111a Kin'yudo by

Aoki Yuji Part 6

The title:

The series: Naniwa Kin'yudo first appeared in Kodan ha's Weekly Comic Morning (:ilM FIJ ::I ~ "/ 7 .:C :1') in 1990. It was an immediate hit and has run continuously ever since. The appeal of this series seems to be a combination of the subject matter (the unethical dealin g~ of an Osaka loan/finance company), the gritty Osaka dialect used by most of the characters, and the rough but oddly detailed style of drawing.

=- /

=-

Naniwa (written here in kata kana -T '7, but sometimes written with the kanji ~fHE or ift:i£) is an old name for the Osaka area, where this cries is set. Kin'yii ( 1fi/M!.) mean "money/finance," and the ending do (}i1) written with the kanji for "road/path." can be thought of as meaning "the way of ..." Given the content of the stories, the title could be rendered as 'The Way of the Osaka Loan Shark."'

The story so far: Our hero, Haibara Tatsuyuki, is a new hire at a somewhat shady loan company called Empire Finance, Inc. He is put to work cold-calling Osaka-area construction companie~ in an effort to lure them into high-interest loans.

Most of the people who answer his calls are hostile and rude, but then Haibara gets lucky. The owner of Takataka Construction, Takahashi Kunimasa. inquires about inte rest rate!>.

Haibara passes the phone to his skilful supervisor, Kuwata, who learns that Takahashi needs a loan of¥3 million by the next afternoon. Kuwata cleverly explains the interest in a way that sounds quite reasonable but actually works out to the exorbitant rate of 42% a year. Takahashi raises no objections to the terms. o Kuwata fills out a loan application over the phone, discovering that Takahashi has a homemaker wife and a daughter, Masako, who works at the ward office.

shacho agrees to lend the money only if Kuwata can convince Takahashi 10 have his daughter cosign. "We can get our money back out of her severance pay if nothing else;· he notes. Kuwata wails until the next morning to call Takahashi, and informs him that the money can only be lent with Masako a cosigner. eeding the money by 3:00 that afternoon, the desperate man finds himself with his back 10 the wall.

Kuwara and Haibara check on Takahashi's fi nancial situation and find that he is deeply in debt. The company's

1'J Aol..i Yiiji. All rights rc\cned. FiN pubh,hcd in Japan in 1990 by Kodansha. Tol..yo. Engli'h tran,lation nght' arranged through Kodan,ha.

Mangajin 89

-r:::.. '7i -/J' '? 7J: !v t.!. '? 1lif

Kuwata: B qftPivc o ~1 2lhf .l: o • -n to akan is Kansai dialect for -nai ika11 w. Mo 11iji desu yo. Soro soro to ikenai, which makes a "must/have already 2:00 is (emph.) soon/by and by if don't go to" form of verbs.

Kuwata: t..:i!.::.

Sound FX:

~

Haibar:_a:

-r--t

"We'd better be_going. It's already 2 o' clock." (PL3) • soro soro literally means ''slowly/graduall y/by and by," but Kuwata: -t-1 iJ' 0 Sr1 ka. what way (?) "Is that so?" -

B

" Okav." (PL2)

Sound FX: I!- ../ Pii-!

Zi-i-ip (sound of unzipping money bag)

@]

Sound FX:

-tt ·;; Sa! (effect of quick act io n/movement -

Kuwata:

it's frequently used in situati ons like this to mean ·' It's about time for (us to leave)/we'd better be (leaving)." • ikan is a contraction of ikanai, the negati ve fo rm of iku ("go"). To after a non-past verb makes a conditional " if/when" meaning, but here ikanai to is short for ikanai ro ikenai, a ·' must/ have to" form of iku, so soro soro ikanai ro is " we must go, by and by'' ·'we'd better be going."

-tt 7 , fr.:.

Sa.

i1'o

iko ka. (intetj.) shall go (")

" Well then shall we go?" (PL2) Cashier: tf; IJ f){ c 1 ,:" ~· ~' i L. t..: o Arigatr)

here of pulling a b ill from the s tac k of¥ 10,000 notes) • sii is often used like ·'well now/all right/come on" to prepare oneself for action or to urge the listener to action. • iko is a shott iko, the volitional ("let' sf[ shall") form of iku ("go"). Volitional forms are typically shorte ned thi s way in Kansai dialect, much more often than in standard Japanese.

go:aimasltita.

" Thank vou ver::y much." (PL4)

Mangajin 93

= 7 ~Mil • Nan iwa K in 'yudo - - - - --r -

94 Mangajin

;-=

'7~Mlli

G

Haibara:

~ "? ~ Sakki

!.: IIIH t 7., ni 10dokeru

'Jt:. }j Jenpii

(J) I TJ PL no ichiman-en.

• Naniwa Kin'yOdo

i:> ~ o-kane

~ 1.1' "? t.: lv ja nakaua "

t {'

"t' T 1r'? desu ka?

¥10.000 other pany/dienl to deh\er (hon.)-mone) "a' not (c,plan.) is/arc ('?) " Wasn't that ¥10 000 ju t now (part of the money_U,•e're supposed) to deliver to the clientZ"

a "hile ago 's

(PL3)

Kuwata: .h!.t -:> f.:

lvn'o

Mitolla

n ka.

were watching (cxplan.-?)

" Were you

watching?"' - "So_J'OU saw that did you?"

(PL2)

• senpii is one of the most common ways of referring to "the other pan)·· in a bu\iness deaUrelation~hip: " client." Senpii ni wdokeru is a complete thought/sentence ("[we[ deliver to the client") modifying o-kane ("money"): "money to be delivered to the client."

• ja nakaua is the past form of ja nai {"i~ not"). and 11 de.w ka. with explanatory n(o). asks for an explanation. • mirorta is a con traction of mire-oua. past form of mire-oru. which is equivalent to mire-iru ("is/are watching").

~

Haibara: t!. v' t t. -) _.;.: L" T Daijiibu

n', -t- lv ~

desu ka,

all righll.,afc

is it?

SOIIIIG

::. C. L "'C koru shite.

that kind of thing

to do

"Is it really all ri!!ht - doing a t!!ingli.ke that?" ( PL3) • daijiibu means "all right/okay" in the sense of "no cau~e for concern." U\ing it as a question implies there li cause for concern: " Is it okay?/is it safe?/are you all right'?/etc." i~ often used to indicate the cause/reason for what follows. but in this ca~e the syntax is invened. Normal order would be .1'011110 koro shite daijr1bu desu ka ?. with sO/lila koro shire indicating the reason for his asking daijiibu desu ka'!

• shire is the -re form of suru ("do"). The -re form

~

Kuwata:

~~lit' rJL-=>n't':>~lvt.!l?

Sakihodo "Mitsukaranandara a while ago

Kuwata:

if not seen/caught

.wbere

n' ut~il'->J t

ga

yurusareru"

w

all/c\Cl')thing (~ubj.) is pcrmined (quOic)

,j· "?t.: iua '>31d

-?1::> " yaro.

right?/didn't I'!

"A while ago, I sajd ' Anything goes so long as you d