Documente Academic
Documente Profesional
Documente Cultură
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M A N G A J I N
.Japan's yen to vend:
VENDING MACHINES
JAPANESE
POP CULTURE
& LANGUAGE
LEARNING
$4.50
No. 28
RISING
SUN,
the movie
The
Vending Machine
Phenomenon
japan has more vending machines per capita than any other country in the
world- about twice as many as the US. Vending machines in japan are 24hour retail outlets offering a dizzying variety of products, and utilizing gimmicks and hi-tech innovations to attract customers.
Estimates vary, depending on exactly what you call a "vending machine" (Should gumball machines be included? How
about change-making machines?), but the Japanese Vending
Machine Industry Association ( 0 ~ !fbll&:Jl:t~n:~thbi'n says
there are approximately 4.1 million vending machines in Japan.
And that's just machines that sell a product; there arc another 1.2
million "service machines," such a'S coin lockers, coin operated
TVs, and parking meters. By comparison, trade sources say there
8
MANGAJIN
are 4.5 million merchandise vending machines in the US (no statistics arc available for US "service machines").
More than half of the machines in Japan (2.5 million) are
beverage vending machines. For the big beverage companies
such as Coca-Cola, Kirin, and Suntory, vending machines are
not only important retail outlets, they are also used as sales promotion tools for the endless stream of new sports drinks, juices,
yogurt-based drinks, various types of water, tea and coffee prod-
;iT
ff J.,., =\'- -1 / T 1 - ~o:>tH5MJiti~ l!l clulingamu. kycmdii tii no kOI/OIO honhaiki intense = ~ L \, '/1/ff.!! f,t lwge.fhiil
karetsu-na can be attributed to = - f.:~ IXI T 6 t :IJ .Z C, it 6 - ni kiin sum to kangaerareru allowance= ,J,irto ' kozukai the abundance of = (lit. )~:~
f,t hofuna ---> ~ ~0) tasii no unthinkable= ~ .Z G tL f,t v' kllllflllerarenai voluntary measure = bJ .1: ff.J f,t 11!1Jn jishuteki-na .1hochi nvaitthcmsetves of =
- 'd:fiJffli" J., - o riyiLwru formidable = .:r::.t'~' tew>wai petition = ~j!II9Q-t J., seigtilt .wru
-------------------------
MANGA JIN
r
F e a t u r e S t o r
'*
Aji
Kansei
Atsu Ats u
" tlavor c ry o f joy hot ho t" (lite ral translation )
Fried Food Vending Machine
The name Aji Kansei implies that customers will let out
a cry of joy whe n they discover how de lic io us the fried
foods fro m thi s mac hine are. It fries up various combinations of frenc h-fries, c hicken nuggets, tater tots, and
small sausages and de livers them in a paper cup. The
food products a re sto red in a re fri gerated compartment
a nd brought o ut to be fri ed when ordered . The machine
c leans the fry ing o il eve ry six hours and automatically
re places it as needed. In the ir promotional material,
the mo tto of the maker, Wlirudo Ft7zu Shisutemu
(" World Food[sl System[s j") is give n as:
Furesshu Narhura ru Herushii & lijii
" Fresh Natural Healthy & Easy."
- ~1- 6 (gamen o idiJ sasenagara) ichiran suru unlimited= ;.~(7) musii no be assured of = WIDE ~ :h. 6~
J3 :B '.' ~;J -9 oikakusu , _pornographic material_= ;f- 11-- / +IJ:fj'~ poru~o kl_mkObut.w vandalism = f~~tQh ~ hakailha.wn kiii
ATM =(automated teller machone V')'*) ffl.: FllliJJ fjj ~t11, ~,. '~ genkm)ldi5 azuh'harm-kt miSchef = \. ' t:; C:J uazura
---- -- - -- - - - -- - - - - -
10
MANGAJIN
-r
F e a t u r e S t o r
More MANGAJIN!
Back issues
are the answer!
No.17: Go back
to eighth-century Japan with
the philosophical story of The
Phoenix, by the
creator of cartoo n favorite
"Astroboy."
/1(: ~ MJWi/1:,~
Kame Jido Hanbai-ki
Rice Vending Machine
This machi ne, located right
next to a rice shop (-;f:~
komeya) provides a convenient
outlet for housewives who just
need the basic purchase-a bag
of ri ce. T he shopkeeper can
concentrate on larger sales, and
the small-purchase customer
doesn' t have to wait in line.
is transferred to
the hard-driving,
militaristic sales
department of
his company.
ff~ 9itlhll&;;ctt
Yasai Jido Hanbai-ki
Vegetable Vending Machine
This machi ne hy electronics giant
M itsubishi has a fan for ventilation, but
docs not provide refrigeration, so like the
rice machine above, it's most likely to be
placed in front of a shop. It docs have lighting i nside so customers can check out the
merchandise before purchasing.
Last winter, a machine was set up in a
hi gh pedestrian traffic area of Osaka, selling heads of l ettuce for I 00 yen, about half
the supermarket price. Al though the machines are qui te different, bargain-priced
i mported frozen beef is also sometimes sold
through vendi ng machi nes.
~. --------- :-~
1
One important factor maki ng the entire vending machi ne phenomenon possible is the low level of vandalism in Japan. M ost vending machines in Japan are
outdoors, on the street, but vandalism i s
not really a problem. While some vandal ism does exist (phone card vending machines in phone booths have become a
prime target), machines for the most part
arc l eft alone.
Nakajima Y asuo, president of the Ja-
BUY3GET1 FREE 1
1
1
1
1
1
_j
M AN G AJIN
11
F e a t u r e S t o r y
*;t:ry /~ 3
''/ }-;\-
z-.J.!iilf!V~ gi)
Meishi Kuruhu
"Meishi Club"
Business Card Vending Machine
Never leave home without your meishi
(business cards) but if you do (or if
they are lost), just head to a meishi
vending machine. These units look
something like an ATM, and operate
like a word processor. You choose
from 18 basic sty les, then input your
name, company name, address. etc.
(For those who just can ' t cope with a
keyboard. there is also a pen-type input
device.) About 30 econds later, you
have 30 meishi for I ,000. Don' t expect the same quality you would get
from a print shop, but these meishi are
apparently considered adequate for
some situations. This machine is imported from a company called KIS in
France by H :<$: -t 7
(Nihon Oto Foto, "Japan Auto Photo).
12
M ANGAJIN
*- r
...
if
F e a
7 1
t u r e S t o r y
1
)-
T 24
Fiorina 24
~, 7 ~
1 n .!liJJ~ /c~
Some say that in the heated competition of the last few years, most
of the good spots have been taken,
and that this factor alone will result
in a plateau for the vending machine
business. It's hard to imagine, however. that the vending machine will
ever lose its place in the heart of the
Japanese consumer.
Matt Durbin is a free-lance writer in Tokyo. Thanx to: The Japan Vending Machine Association, Peter Evans, Karen Ma,
and SSKC.
pesky = ') .Q ~ \, 1 urusai elusive= f.t iJ't:f.iJ''J iJ' l C, t:f. \, 1 naktHtaka I.Wk(llll(lf(/1/0i cubides = lj' ~ 1.- 'jmJ~ c/tiisai koshitsu can't cope with = 1 ;j:
<1/L!,JW-r: ~ l'.t It 1/t& ;t t:t. \,' umuku shori dekinuilat.wkaenai be adequate = IIIJ l.: -fr-? ma ni a11 bouquets ="/- 7/1EW: biikellwnataha environmental
awareness = J~i;&(IHI.:Ili)""-Q);i2,~ klmkyii (mandai) e no nin,,hiki
------------------------
M ANGA JI N
1 3
A TASTE OF CULTURE
;;:
~~
w::f:-
Bf] J~JCJ
-:F .1--'
,f! ,,
,;;:tl
Kisetsukan
"A sense of the season"
keeps Japanese menus fresh
all year long.
Kisetsukan, or "a sense of the season," is the Japan.csc national e thos. Seasonal feelings arc reflected in clothing and personal accessories, architecture and interior design,
and most definitely in culinary matters.
Despite mode rn technology which e nables consumers to
enjoy exotic food s from a ll over the world throughout the
year, the choice of what to serve at a Japanese meal is very
much determined by seasonal cons iderations. ln effect,
kisetsukan means allowing nature to direct your diet.
. The Japanese notion of shun (1iJ, the time of year when a
particular ing redie nt is at its peak) is acquired at a n early
age. The observation and study of natural phenomena is an
integral part of the yochien. (Y;/JfffiOOJ. pre-school ) curriculum.
Japanese ch ildren spend their summer vacations keeping a
diary on insects, plants, vegetables, and fi sh. Young school
children learn that digging up fresh bam,boo shoots is a springtime outing, while going to harvest sweet potatoes is an auturnn school trip. As a resuit, most Japanese g row up appreciating the bounty of each season; genuinely regretting the
passing of one season whi le eagerly anticipating the pleasures of the next.
To Westerners, the most c urious aspect of Japanese culinary kisetsukan is the enjoyment of a s ingle ingredient prepared in various ways at the same meal. No matter how much
in season tomatoes might be, it's unthinkable in America or
Italy; for example , to serve at the same meal a fresh tomato
salad and a meat or pasta dish sauced with tomatoes. The
Japanese, on theother hand, would think nothing of serving
three eggplant dishes at one time, In fact , a recent meal prepared by a Japanese friend included nasu no o-miotsuke
+O)!:>h-13-::>lt, chunks of eggplant simmered in miso soup),
yaki nasu (J:JHiO small whole eggplants, grilled then chilled
and garnished with fresh grated ginger), and shiba-zuke ( L
Om
r.
by
Elizabeth Andoh
national ethos= fi'IJ'I!;'Itf~h';~'i'i lwkuminseilkokwnin kishitsu considerations= ~Lflll. haity o bounty = ~J1- megumi c urious= L ~ ', /f}~.:li\ t:t.
mezurashii.fushigi-na in season= lll& IJ /'IU desakaril slum imparts = .g. X. .:5 ataem prevails = .J: <Q C_, tl J., , ~ (f..n: 3':> 7.> yoku mirarem, ippanteki de aru thrives= .;r: ;{_ 7.> sakaeru f ree-wheeling= #:OJ( i;t honp6-na aesthetics= ":'#:.'- bigaku folklore= RFo,{T.l. min/am denshi5 self-evident
= Fl ajj (J) jimei no decode= llfl.:fRT 7.> kaishaku sum motif= -f:c 7- 7f{!i~,f mochiifuldaizai
~--------------------------------
14
M ANGAJIN
Tasteof Culture
.
I
tiJ
!oitcorm = (illuat ion wnedy d)ll/i) :J ) T-{ -111-*'l /..omtdii bwrxumi necting = l.t ~t..: ~' /w/..t/11(11 captures the fancy = !IIJP,j; t J I <ttl. i ~ /..\{]/Ill
lrik11lmis11m lyric"m = ~Mi'tjojosei enamored= 1!'- '4J 1.: 1..: 7.> mudw ,; lliiTII th~ lirrnarncnt = A:~ o~ura the Milky WJy = ;kG!) Ill m1111 nv gilll'a
dapan Related
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Communication Tips
edgeimbalanceamongpeoplewhoneedtoknow
about Japan the most-Americans working day-today with Japanese bosses, colleagues, subordinates,
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MANGAJIN
15
Ta ste o f C u l ture
Fundamental Japanese
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k.ata(ru)
tal<. relate
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converse
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1 6
MAN GAJI N
Taste o fCulture
springtime tlower-viewing (hanami ~E~). But when c loudy
weather is predicted for mangetsu (ifdllfl "ful l moon") e ve,
softly poached eggs are often served for supper because their
el liptical shape and filmy veneer evokes images of a moon
hidden by wispy c louds-an interesting die tary quirk.
The wintertime table in Japan focuses on celebrations of
the ew Year. And that means, among othe r things, the triumvirate known as shiJ u~. "pine "), chiku (it. "bamboo''),
and bai (f.fit. ''plum"). Since pine trees are always green. the
pine branch cluster symbolizes the eternal nature of things.
Bamboo symbolizes streng th (bamboo poles never snap; that's
why life guards at sw imming pools depend on the m). Plum
blossoms equate with he artiness because they bloom in J anuary, even when it snows. ( By the way, sho, chiku, and bai as
category titles are used year-ro und to de note differently priced
menus in many Japanese restaurants. I'm not sure why, but
used this way, shiJ !also pronounced matsuj is the most expensive meal. chiku[also pronounced takel is medium-priced,
and bai [also pronounced umej is the c hcapesl. )
The Japanese fondness for evoking seasonal attitudes is
not limited to carving and shaping food into vario us stylized
motifs. Tableware, inc luding plates, bowls, c ups. trays, and
accessories s uch as chopstic k rests, also he lp convey season-
ality. Even the mate rials used to fashion these tabletop accoutrements have seasona l connotations. In the warm months,
the Japanese favor g lass and crystal dinne rwa re because it
reminds the m o f ice; a refreshing thought on a hot, humid
day. Woven o r slatted bamboo is also popular in the summertime. probably because it provides ventilatio n, should a
cool breeze happen by.
The Japanese preoccupa tion with seasonal nuances requires enormous attentio n to detail when preparing meals.
Americans often assume that o nly top food professionals can,
or would, spend the necessary time and ene rgy on such tasks
as molding rice, carving vegetables, and coordinating decorative garnishes to plate design. Actually, the average Japanese housewi fe-and-molhcr g ives a lot o f thoug ht to presenting attractive meal~ for her family a nd fri e nds. The basic
kitchen ski lls of these home cooks arc greatly e nhanced by a
dizzying array of kitchen paraphernalia- equipment and appliances. And that 's what we 'II be exploring in the next issue
of "A Taste of Culture.''
Correspondence to:
Eli~aheth Ancloh, do M ANGA.IIN,
PO Box 711 9. Mariella, GA 30065- 1119
<
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Supports most dot matrix printers, Inkjet, and
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Supports )IS standard, read /write EUC-JIS, NewjlS, Old-JJS, NEC-jlS and Shift-JIS.
Generates PCX files for FAX transmission or for
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1t does not require japanese DOS, and it works
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Chinese version is available with same user
interface and 20 Chinese input methods.
Hongbo Data Systems PO Box 866 Ken sington NSW 2033, Australia
Telephone/Fax: +61-2-399-9876
MANGA JIN
17
Japan
in Your Pocket!
Within the vast array of Eng lish
lang uage mate rial a bo ut J apan is a c uriou s genre, part g uidebook. part encyclo pe dia, devoted to explaining the
intricacies of J apanalia to tourists and
assorte d Japa no philcs. While these
books run the gamut fro m hi g hly informative to mere ly quaint, until no w
the y have all te nde d to delive r a madefo r-export ortho do xy g lo rifying tradi ti o nal c ulture while s lig hting mod ern
develo pme nts.
The Japan Tra ve l Bure au has
broug ht this g e nre into the nine ties
with a c hatty and accessible 14 vo lume set o f bo okle ts title d ( in Japanese) Nihon Etnki Jiten B.<f>:*Zt ~ 'I~
~-lite rally , "Japan pic ture-expl a ining encyc lopedia."
Each bookle t is packed with the
kind o f in valuable info rmatio nal nug gets us u a lly g leaned o nly thro ug h
ye ars o f observatio n. One le arns, fo r
e xample, that the fo rma l company seal
is usually round (a square seal has limite d legal authority); that you can predic t the weather by kic king a wo ode n
c log.
Even more fascinating than the individual entries, howe ve r, is the s tance
adopted toward the material. " Living
Japanese Style," an indispensible guide
to dail y life covering bo th ma tte rs
triv ial (how to bet o n the ho rses) and
consequential (ho w to pay y our re spects at a funeral) , is remarkable for
its re fre s hing a ss umption that. Joe
M ANGAJIN.
intricacies = >WI"' jjfml ~ ~ konUJ/wi tokorolfukuzatsu-.w Japana.Iia = H ;;$: ' {: Nihon-gaku Japanophilcs = :tJl H shinnicllilw run the gamut =- (J) ~
~ 1: t> /,:: 6 - 110 Zf/1 iki IIi IV(I /U TU gawk : ,Y. :IJ / /:: ~ n t i') ,0 p0/w11 IO IWJ.IUIIIUU sarcasm: JilJJilj jlisiJi chump: nfj( of ? ~ J{>'.)kan'aiS0-/1(1 Jll/.111
thought-balloon = ~ ;l '( ~' 6 :.: C. ~ 1)~ j" IJjz ~ tl:l L. kangoete iru lwto o shimesu fukidashi the real kicker = J>Di.lh ? It/~ It kiwametsuke/kessaku overly
identified =- (J) U r: t;t .., '(~ ;{_ j ~ 1.> ~110 mini 1w11e kangoesug iru >pin = (llil, l !)3~.f0') ) V'P.IJ (sl'lsumei nado no) h.it~eri lake up the slack = t::. 6 ~~ ~
~I ~fill I'> 6 (fill) ~ PJ!If '- Mi 'J) tarumi o hiki.l'himeru (larinai tokoro o ogina u) cv~ nces = lj: .., ~ IJ 1)~-t hokkiri shime.l'u
18
MANGAJIN
Book R ev i ews
Wars, America for Sale, and Perwhich even the most talented individual is but a commodity in
ils of the Persian War. A Japanese
service of the corporate goals.
translation of the cartoon and commentary (in Japanese and
English) arc given on the facing page. In fact, everything. from
the contents and foreword to the notes about the cartoons, is
presented in both English and Japanese. No readings are given
for the kanji, however, and there are no language notes or gramTl.- amaziiiR word f"Octssor for rhr Applr Macintosh
mar explanations afa M ANGAJ IN . I n selecting cartoons, priority
was given to those that evoked a chuckle, and even if you're
not a language student or sociologist, you'll enjoy the book.
Book Shorts
*'*'m :
BUSINESS
ETIQUETTE
O~;u1 a
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~(~ ~~
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Arabic
Hebrew
Czech
Hungarian
Finnish
Korean
German
Polish
Russian
1-800-922-2993 Ext.120
Nfsus
S(lftwJJr~
/ n (' .
MANGAJIN
19
RISING
SUN,
the
mOVIe
by Rebecca A. Mundy
Police investigators
Jolm Connor (Sean Connety)
and Web Smith (Wesley Snipes)
check out the scene of a young
woman s murder in Rising S un.
The opening is brilliant. On the screen, the Japanese characters 0 lf. (a no nstandard kanji combination that would have to be read nissho, "sun rising") fade
into a burning sun rising powerfully on the ho rizon. The red orb breaks apart to
reveal a c ircle of worker ants rushing about on the desert floor, but whe n the cam era
pulls back, we are in what appears to be a Japanese Western. The camera pulls back
even more and we realize that the Japanese Western is a video for a karaoke version
of Cole Porter's "Don' t Fence Me ln." Singing is gangster/playboy Eddie Sakamura
and sitting at the bar watching him is sultry blond, Cheryl Austin.
This witty and provocati ve beginning raises the viewer's hopes for the movie
Rising Sun. Directed and produced by Philip and Peter Kaufman, and starring Sean
Connery and Wesley Snipes, the fi lm is based on M ichael Crichton' s best-selling
novel. It is the story of two special liaison detecti ves investigating a murder
mystery that pulls them into a web of industrial and po litical intrigue. After reading
the novel, I had envisioned a sophisticated, high-tech thriller, spiced with political
plots and evoking a strong sense of Japanese style-maybe something like Black
Rain. What I got instead was a Beverly Hills Cops version of Rising Sun- good
ente11ainment in its own right, but somehow dissatisfying and certa inly not on a par
with C richton' s far more controvers ial depiction of US-Japan relations.
T his is not to say that the movie is without its moments. The pi vota l murder
scene, where a beautiful call-girl is seduced and strangled on the boardroom table
of Nakamoto Industr ies during the grand o pening celebration o f the Nakamoto
Tower building in downtown Los Angeles, is a near perfect blend of sensuality and
myste ry. Sean Connery (as semi-retired police detecti ve and Japan expert John
Connor), and Wesley Snipes (as detecti ve Web Smith) create a dynamic partnership and add an interesting inteiTacial dimension to the plot.
There is also a great deal of humor in the film that never existed in the book,
including a hilarious sushi-eating scene reminiscent of Tampopo, Japan 's classic
film o n the fi ne arts of food and sex. T aiko drum sequences, surrealistic karate fight
scenes and a haunting musical score composed by Takemitsu To ru add a backdrop
of Japanese aesthetic sensibility.
But beyond that there is little in the film that gives the audience any real insight
into modern Japan. Gone is much of the political commentary and the minilectures on Japanese culture that were so important to the novel. The spoken
Japanese is sparse and repeats the same mistake as the book in the use of the word
kOhai (as in senpai-kohai, the "senior-j unior" relationship); Connor addresses his
j unior partner as "kOhai" rather than by name.
To maintain the humorous to ne o f the movie, some o f the supporting
characters are exaggerated caricatures of American politicians and trade negotiators who would be hopelessly inadequate in the reality o f upper level US-Japan
business dealings. The intention of the producers was apparently to create a
commercially viable film, almost a humorous take-off on
C richton 's novel, focussing on the murder mystery rather
than political contro versy. In spite of this, the film has
already spurred protests from Asian American organizations, accusing the movie of villainizing the Japanese and
perpetuating racial stereotypes. Actually, a cross-section of
characters is presented for both nationalities-heroes and
villains, Japanophiles and bigots. So me of the Japanese
characters are definitely portrayed as good guys. Yoshidasan, a high-ranking Japanese businessman instrumental in
the negotiations for the purchase of Micro Con by Nakamoto
Tndusllies is portrayed as a man of impeccable integrity.
Another Japanese character, Eddie Sakamura, the gangster
orb= J:.R kyil sultry= 'gfi~li0 t.: kannoreki -na intrigue = ~2if.ht!m'
~ inbO I sakubo sensual i ty= 'E\IiE:t'l. km111osei haunting = Ll:
J., kokoro ni nokom a humorous take-off= .:z..- ~ 7 :J.. t.: ;ill.\jfilj
yiimoraSUIIQ fiishi Japanophiles
D ~ shiw richi-ka bigots =
A+f!A!Jflill#~ ~ ~'"{ ~ ' A"< jin slw -re ki heu keu o ida ire- iru
hirobiro impeccable= E~ L.. 5.)-<1:>t.: ~ 'IX !.'!:<1:>1d:~' moshibunuo
nai I kellenrw nai inlegrity = ~:;1::;/i:':i~ seijitsu I kokersu
=om
M A N GAJ I N
Movie R eview
playboy, becomes the movie's unlikely hero. ultimately risking hi own life to
ave Connor and Smith. The studio also made a major depanure from the novel
in what appears to be a concession to Asian minority interest group . They
change the nationality of the murderer from Japane e to American. although the
film leaves hi identity somewhat ambiguou .
The producers, perhaps overly concerned about commercial success and
fearful of aggravating racial tensions, softened the political
controversy of the movie too much, and shied away from the
hard issues of US-Japan relations that are an integral part of
the story. The film could have been directed in such a way
that it shed some light on the complex state of affair
between Japan and America without casting either country
in a simple "good guy" or "bad guy" role.
As the filmmakers responsible for the beautiful and
controversial work Hemy a11d Ju11e, Philipand Peter Kaufman
should have continued their precedent and taken a bolder
stance on Ri.si11g Sun. It would have made a far better movie.
Rebecca A. Mundy is public affairs director of the JapanAmerica Friendship Foundation in Los Angeles.
ambiguou., = ih \ '1 ~' aimai aggravati ng racial tensions =
A tRill] (l)~~'i.l~ ~ (.~ N:> 7o>_jinslmkan no kinchii o takameru \hied
a\\ay = L. I):: h. L. f.:.tM.It f.:. sl!irigomi shita I saketa precedent = tiiJ~ ~enrei
MAN GAJIN
25
Hanko:
Japan's alter ego
Hanko '1'11-=f, or seals, mark every turn in life for a Many kinds of seals
Japanese person, from the cradle to the grave. They
There are many kinds of inkan which can be placed
are the proof of authenticity and identity in Japanese into two general categories, .fi..F-n shi-in (private seals)
society; without their round, red impressions, Japa- and 0t:n ki5-in (official or government seals). More prenese do not "exist."
cisely, they can be grouped into ~t:[l jitsu-in (one's
Birth certificates and registrations of marriage need registered seal), iJHi'F.fl ginkoin (a seal used for banka seal to be acknowledged. The deceased are in limbo ing), ~F.fl m itome-in (a private seal/signet). U~t:fl
without the imprint of a hanko on their death notice. shamei-in (company seal) , ~ t) t:n wari-in (joint seal/
One must affix a seal on one's will. The survivors can- tally), ft~~t:n daihyosha-in (company representative's
not inherit anything they are entitled to without the mark mark) and others.
The ~lOP jitsu-in, perhaps the most important, must
of a hanko . One's registered seal is also indispensable for preparing registration papers for one's com- be registered at town hall, where officials issue upon
pany or property, notarial deeds, and documents for request an F.flit:::U:Ill'F inkan shomeisho (certificate of
bank loans. A seal is required on 1/.tA. ,~Jringisho(a draft seal verification). These certificates have specific peproposal circulated through the company for reaching riods of validity: in the case of registration of property,
a consensus), contracts, applications, and written ex- 3 months, and for notarial deeds, 6 months. As menplanations.
tioned, just about all important documents require
The ubiquity of seals in Japanese society can be one's registered seal: the impression signifies approval
noted from the number of synonyms: "1=11 han 'fll-T: or consent.
hanko (band stamp, seal); t:P'I'IJ inban (seal) F.nff~ingyi5
(seal, signet, sigil); F.fl~ insho(seal, stamp); F.flii inkan Avoid damage
(seal, seal impression), and others. Hanko is a ge- 1
One must be careful not to damage the face or
neric term; the proper terms are inshi5 and inkan.
material of the seal. If a seal is broken it will no longer
be valid since its imprint will not match the registered seal
impression. Many people protect their registered seals with
caps and leather bags, and it is customary to carry seals in
sturdy cases to prevent breakage. Anyone, householder or
non-householder, man or woman, can have a jitsu-in. Minors can also have registered seals with consent from their
guardians. Seals, however, are for one's lifetime only and
not to be passed onto later generations. They are engraved
with both family name and personal name, but just one name
will suffice if the individual can be identified by it. Identical
mass-produced seals, rubber seals, stamps, and seals of
pen names, however, cannot be registered. Registration of
seals with a different name or which are difficult to make
out is also prohibited. Registered seals are about 15mm in
diameter for men, and 13.5mm for women, and about 60mm
long in both cases.
Other uses
No specific format has to be followed for the ifHl'E:n
ginko-in, used for bank documents. This seal is an important one, but it does not necessarily need to be registered
at town hall. Since it is for making deposits, savings and
other transactions, the ginko-in must be registered with the
bank, however, and mass-produced seals once again are
not allowed.
The ~!On mitome-in is also called an ~!On ura-in; ura ("behind" or "back") indicates that this seal plays a supporting
role to the more formal jitsu-in. Its impression is affixed on
the receipts of registered mail, parcels, door-to-door deliveries, and other items which come to the home. Its purpose
is to Jg~ o mitomeru, "acknowledge" or "confirm"; it is usually one or two sizes smaller than the jitsu-in or ginko-in.
This seal is also called :=.:lcf!J sanmonban (mass-produced,
"three-penny" seal).
The inkan plays an important role in the Japanese art
sumi
world, too. An artist finishing a painting or work in
(Japanese ink) puts his or her signature and red seal on it.
Without these two elements the piece not only lacks a sense
of completion but also is not regarded as real. The work
loses market value even if it is indeed a genuine piece by a
major artist. A painter, famous or not, will not forget to add
these identification marks. When works by maestros are
occasionally forged, these two details are also skillfully coped. In a recent case, the genuineness of certain print works
by Munakata Shiko came into question. Their authenticity
was established finally on the basis of the genuineness of
the signature and seal.
i:
1R
Eurocentres courses receive the generous support and c lose cooperation of the
Ishikawa prefectural Boord of Education.
The programme provides opportunities
to experience Japanese culture. history and
tradition along with intensive language instruction.
Optional programmes include calligraphy; zen practice. industrial/cultural visits
and weekend excursions- to name o few.
Learn Japanese ways of life while staying
~li with a Japanese family.
Eurocentre Konazowo is o small cosmoPQ politan
world with participants from many
countries. Together they learn the Japanese
language and culture. and also about each
other.
A course unit lasts 4 weeks; more than
one may be taken at a time.
-c
*c
B
*1tX
ECJAOOSmn
:.;;;~~~~:,:.';
-~~S'f!t~1&4l'IIF
Fuk81 Bu1ldmg
by Sawane Fumitoshi
. ~
..... ~.
. ~......:
...... ~ .i: .
i"'
~~
%
@
1j
"*
~
..
~)
"
beddo
no
marroresu
ni
bed
('s)
mattress
to
-Y":J.
J: o
Dame
ro.
no good (~mph.)
ue
roof ('s)
top
de sanrinsha
at
tricycle
ni
norre ii?
at/on
tricycle
(trike)
gflii
o~!-c>li~ L -r ~ 7 1 7
t -? .: t 'b 0 .0 o
-Y":J.
J: o
Dame
yo.
no good (emph.)
kukkii
moraem?
can receive
(;f,
then
l:l:l L -r -? i
;,.-r
,:.:;.~
t,.-
ll:.l61:~~.5~~~;J(tl:l:lVC:i:>P"(;j{jqol.::t:>c Lt~'lt ,
<7
'l -'\'- -
.J:-..t~
then- -i-it.l:-'1'0,
J;~\.
t,fi: l}Q)~;)<:t
Q) tl C:> "' o
-+ -Y":J.
Dame
J: o
yo.
no good (cmph. )
;>j: o
minukarera
na.
J.
:
f!<~i'Uv-c'l,\}.,Q):'ef:
.,
f,
( AQ)~t#i?t )
Call'ill & Hobbes, copyright I 987 Uni\'ersal Pre'' Syndie<~te. All rights reserved. Rcprintedllran,htled by pernlio,,ion of Editor' Press Service. N.Y.
32
MA NGAJIN
(0\ViN .J
HobbtS
~~
doko?
(as-for) where
to be grammatically correct. the sentence does require the wa. but in actual speech it sounds more natural to leave it
out.
r,r.JJ.r
~.
mt
t..t
:.,. '
..
u.ZJJ'f
l.""t=
t;,;...
!fiT ."l~
t VC.J Iii t -~~
9(] 1: f-1! bit .0 BJ:ft,!li momo\ Dad -? !:mom
li!!! ~ .0 fJJ ~'i'J1f'L'
li ~
t
,!.
JJIJ
<
,:. :k A.J,t"ll
ruJ 1: q:, ~ .15 ~,. 8 4>: ~ I? j, L .1? I? t.: ?1~-c ~.:. , r.J:- ~ t ' t t;t:.d' -? ""?t-~ 11~'1:
t ft btL .0 .: t tJ< ~ <,
;.
c:"''' .!::(....._"? Lt.:
ffl kt liCli.ili; ~' : .: it r:~t .Jtl
L daddy ~ mommy li 11: r.JJ~\"..It't', k. A tJ<ft-? t~,g. li!jgiJ ~ tl L h. t.: >
dad ~
J
f I,
.~
-?.$'
ni
iru
ua
Hi
-c :0
okosllire-ru
C. .:. 1:>
J: a
rokoro
ro
living room in i s/exist~ (fem. colloq.) fire (obj.) starling/making place/time (emph .)
trans lat ing " making a fire" as H i o okosllire-iru spo ils the joke in a way. si nce it implies that the fire is being started
in a stove or fireplace. The other option we considered was Hi o rsukere-iru, which could be interpreted to mean
that Dad was sctling fire to the ho use - apparently Calvin's inte rpretati on of his mother's reply. Since it's Mom's
line. however, we went with a word ing that would renect what she intended to say.
OJ
i~-(quotc)
;awesome
,.
~ }.
..
lJ.~..,
-nr t' t? I? t
' .':. ,.
Mf~
.:. -).i.A.
il?~ tt.~t
tJ<h-t
the English word "fire" in this frame is ambiguous. so ~aying kaji (:.k 'Jl) in Japanese would be to anticipate (and
de tract from ) the punch line in the next frame. None of the other words we could thi nk of assoc iated w ith fire fit with
Calvin's exci tement here. but we decided to use lri - so the Japanese reader doesn ' t realize what Calvin is th inking
until the punc h line actually come~.
-+ t:tlvt.::, ll.&:t/i(.:
n'o
Nan da danro ni ka
fireplace in
oh
IUIII
da
i~
('!)
literall y what (is it)T but it is used as an expression of di sappo intment/let down.
M ANGA J IN
33
~I~I"l0l
Ueda Masashi's
'~f:l<~
Furiten-kun
Fusuma
110
Akeshime
Sound FX: J..Sii (effect of sliding the door open smoothly and quietly)
~.: ,
( thinking) Johin-ni,
Sound FX: J..Sii (effect o f sliding the door open smoothl y and quietly)
<a
utsukushi k u
Ueda Masashi. All rights reserved. First published in Japan in 1992 by T ake Shobo, Tokyo. English translation rights arranged through Take S hobo.
4 0
M ANGAJIN
'!Jf:l<
Furiten-kun
llli /C.til
lido
automatic
~ CD
Ha11bai-ki
vending machine
Vendin_g Machines
:I-7
Machines: :J .:1. - A
lltSLI
Kora
Juice
Cola
!Ub'c~
Hrmbai-ki
Sign: ru1.1
l ido
~1im
Seisaku-sho
,,a
11Wsumasu
,t;t tn.
n{
setchi
go
in~tallation (~ubj.)
.z .o
t hffiJ ~ h .o o
ji1er11
will
10
increa~e
yosoku .w reru.
(quote)
is forecast
"The forecast is for more and more vendin machines to tieplaced in service in the future." (PL2)
-ki is a uffix for machine~ of various kind~.
seisaku-slw is literally "manufacturing place" - "plant/factory.'' but is also
commonly used in manufacturing company names.
korekara is literally 'from this: meaning "from thi~ time forward."
setchi is a noun referring to the in~tallation of various kinds of equipment etc.
yosoku sareru is the passive form of yosoku sum ("predict/forecast")
Shikam-11i
l.:ki'1:
ji11sokL1 11i
11i
that demand to
<
~wiftly
arya?
what is it?
as for that
Q)
110
r1
J: o
to
yo.
Hanbai-ki
Vending Machine
Arrow:
i:>~
Okane
Mone
Sound FX: ff 'I /
Gatan
publi~hed
in Japan in 1991 by Take ShobO. TOkyo. Engli~h translatio n rights arranged through Take Shooo.
MAN G A JI N
41
'!Jf:l<
~ I
Title: {E)(
L----~_r;_:!_~_rk_s-
Fu riten-ku n
[Q
- - -- -- ------'
(/) -?
no-?
Boy: '7 - ,
wa,
hanabi
kalle kita
~ 1:J
Yaro
1:J o
yaro.
let' s do let' s do
~v ' t ::.
Boy:
if do?
Y -\' ;;
sha!
;.,--\' ;;
shal
:,- -r ;;
shal
:,- -r ;; :,- -r ;;
sha!
shal
t!. 1:; ?
Yappa
mien
daro?
42
MAN GAJI N
ill\tll,l0l
Ueda Masashi's
,~,':1~
Furiten-kun
Title: ":! Jv 7
Gonifu
Golf
[!]
-c: -t tJ'?
Furiten-kun: H-?, s~ ~
Oya,
rsuri
desu ka?
b tJ' o
t! 7:> o
Mirya
wakam
daro.
yo.
Bashi
-----
-------~~--------
f.JIJ
t:~f.t.lt'TtJ' o
Nan da,
yappari
rsuri
ja nai su ka.
what is it?
after all
fishing
is it not?
-+
nan da is literally "what is it?" but by itself or at the beginning of a sentence it's often used to express the feeling that something hasn't lived up to
expectations- in this case the neighbor's expectations. At the same time,
the yappari ("after alUas expected") implies that the neighbor did live up to
Furiten-kun's original expectations.
su is a colloquial contraction of desu ("is/are"). Ja nai (de)su ka is literally
"is it not?" but the question is rhetorical so it actually serves as an emphatic
observation, "ll is/was fishing"-+ "You did go fishing."
Ueda Masashi, All rights reserved. First published in Japan in 1992 by Take Shooo, Tokyo. English translation rights arranged through Take Shobo.
MAN GAJIN
43
mrft<lv
by
Tanaka-kun
51 -t- iJ 1:::: D
Title:
I Tanaka Hiroshi
;{-?
Plima
J\
Perm
Sl~: ~~
Bi,o-shitsll
~-~
~~
Tomi Biyo-shitsu
beauty parlor
[2]
Tanaka-kun: "- / ~
Hen-na
ata111a
ni
natchatta
na-.
'f ;1.
Clum
C/11111
-a
IYJ!t"t't
"'{:>--:>li'fJ
"-/
fl o
lchiya
akete mo
yappari
hen
da.
warau
everyone laugh
daro
na- .
yappari in this case is "after all" in the sense of "stilUcontinuing even now."
Boss: IB'P<fv
li?
Tanaka-kim wa?
(name-hon.)
as-for
hen
na no de
yasu11111
sii desu.
" He savs his head feels (is) weird so he's taking the
dav off." (PL2)
when ata111a is taken to actually mean " head," arama ga hen can mean either "(one"s) head feels strange" (i.e.. one feels dizzy/has a headache/etc.)
or '"(sorneone"s) head is strange" (i.e.. the person is bany) - in this case
the former. since she is reporting Tanaka-kuns own words. That. o f
course. is the meaning Tanaka-kun hoped she would take. but from his perspective his true meaning was " my hair looks strange:
yasumu means " take a rest/go to sleep: or in the context of work/school.
" take a day off/stay home:
... so daldesu is used to report what you have heard from someone else. In
this case we assume she has heard it from Tanaka-kun himself, but so dal
desu is al so used for what one has heard indirectly from third parties.
44
M ANGAJIN
Hllft<lv
Tanaka-kun
by
Title: 7
v 1:::" PJ!:jifij
Television Movie
Terebi Eiga
Owari
Roadshow
The End
I.' I.'
11!1!: tOO
t.:.-? t:.
~- o
li
eiga
dana
na- .
Eiga
wa
yappari
eigakan
de minakucha
h. t:. .:.
t t:
mita koto ni
saw
~ c.,~\,\
naranai
if don't see
.J:. 0
yo.
Pocket oaperback
Bunko
bunko literally means ''library/archi ves" but here implies :>'cW4: bunkobon,
referring to a book from one of the numerous " li braries" of pocket-sized
paperback editions Japanese publishers issue.
Sign: i$:
Books
Hon
Tanaka-kun:
,,,::It
'b
~-? rt t)
Shosetsu mo yappari
novel
.!i!fri$:
tankiibon
de
yomanakutclw
~)Uvf!.:.
C f: ~C.,~\,'
koto ni naranai
~!
yonda
na!
read
M ANGA J IN
45
b 3Lrt~ ~ ::t:e~
Y T achibanaya Kikuta ro
Beranmei Tochan
DJ
,~
8
1.!'!
Hyakuten ka!
TOchan: .iJ -? ,
0!
Kachan:
~ -? !i ~
Yappari
atashi ni
nita
da nei.
[D
Tochan:
-r ~ lv 't" v'-? o
Teyandei!
"Horsefeathers!" (PLI)
-IJ:J t:.
1:
nita
ni
-?
-r lv
t!..;;, v' -? o
Oira
ni
kimatte-n
Ume
daroi!
3
ll
{j..x -;;::,
~
(-:::
1-= -w~
teyandei is a slang/dialect phrase meaning something like "What the hell are
you talking about?" or "You're full of it!"
oira is a mascuHne slang word for "lime," a somewhat softer variation of the
rough ore.
kimatte-n daroi is a dialect contraction/variation of kimatte-iru daro, "is
surely decided/definite." The expression ... ni kimatte-iru means "of course
(it's) ... "or"... is the certain/inevitable result/conclusion."
Yowatta
na,
imasara
kanningu
to
mo
,Z~ \r'
ienai
shita
did
l- o
shi.
and
46
M ANGAJI N
31:1E~~::t:fU~
Y T achibanaya Kikutaro
t.!. -tf 0
my dad
as-for
(name)
da ze.
to resembles-(explan.)(emph.)
Beranmei Tochan
.......,_ o
He.
[2]
I?
Kazuo-lum
(name-ho n.)
chi
wa ?
house/family as-for
(name)
J\J\I' o
"As for my dad, in the end maybe O'd say he looks like)
Tamura Masakazu. (laugh)"
-+
[TI
Tochan: .to ? ,
0,
.t o
Kazuo,
yo.
(greeting) (name)
Jrayaku
kere
GJ
Friend: ~ (J) A
t!. :h.?
person who?
no
ojisan
's
uncle/man
.t,
da yo,
J\ 1\ l ' o
ha ha ha.
is (emph.) Oaugh)
e Tachibanaya Kikutaro, All rights reserved. First published in Japan in 1991 by Take ShobO. Tokyo. English translation rights arranged through Take ShobO.
MAN GAJIN
47
!H1liQ Katsu-Shika 0
48
MANGAJIN
~ ~ffi Q
Katsushika Kyu
Kyii's name is sometimes written as the number nine in Japanese
(}L), sometimes with the English letler "Q," and sometimes phonetically in kana.
The stories combine lapstick humor. vi!>ual gags. and parody.
and take some strange twists, but Kyu and Goro usually appear as
humans. In our story, however, Kyu has turned into a penguin.
by
th~nT-![
Tomisawa Chinatsu
Sound FX : (:J)I} I} 1) 1) 1) :; 1) 1) 1) 1) 1)
(1 i) ri ri ri ri ri
1 i ri ri ri ri ri
Brri-i-i-i-nng, brri-i-i-i-nng (sound of alarm clock)
Sound FX : 1- './
Chin
Ding (slight ringing sound from hitting the alarm-off button)
T itle: ""'-/.:''./ t: ~ "? t.:.
Pengin
ni /1(/1/(/
penguin
.
"Sound" FX :
10
became
lL ~ !v
Kyil-san
(name-hon.)
Part 1
plito wan
pan
I
Hyoko hyoko
(bobbing/waddling effect)
Q:
~/.:''./
f.::' !!
Pengin
da!!
penguin
am/is/arc
Tomisawa Chinatsu. All rights reserved. First published in Japan in 1992 by Shogakukan, Tokyo.
English translation rights arranged through Shogakukan and Viz Communications.
MA NGAJIN
49
l!Sflii Q Katsu - Sh i ka 0
it.!\ 'fiiJ
"? "' jp
t:.
{>
tp A.
t:t
50
MANGAJIN
~~Q Katsu-Shika
Q: ~-'
t.:. . ..
maitta.
U- ,
(sigh/groan) be dumbfounded/at a loss
"Uuh, this is awful." (PL2)
n'
Q : t ... ti'J~X.-f1i5
?11/
Uiin
Whee-e-e n (hum/grind of electric coffee grinder)
nttn ...
Q : ~-::>v'!
Goro:
-jl}-'{>~-
'
~"'
~'-'' o
Uhya-,
samui samui.
(exclam.)
cold
cold
" Hoo-ooh it's cold cold." (PL2)
Sound FX: tJ7/ tJ7/
Karan koran
Ting-a-Iing (sound of bell that jingles as door is opened)
FX:
t- -"\'Doki
(effect of heart mjssing a beat from being startled)
Goro:
~'
A,
" Hey,"
Sound FX: r'j- /
Vt7n
Rrrrrrm (hum of air conditioner)
-c
n' ,
G o o : 'JL~Iv, {PI,
!v -r: 1"
~m .A tt
Kyt7-san, nani, reibo irete
-n desu ka,
starting
(explan.-?)
(name-hon.) what a.c.
::..rJ)
*"'
(J)
1: 0
M ANGAJIN
51
12 t ~
,!=]
1?
t"
J:
"'?
t:.
<
!!
~
IJ,
/J,
/J,
.". t......"
~
t:.."
52
M ANGAJIN
TII\l!i Q Katsu-Shika 0
Goro:
'?
t:.
<!!
-)
-c'-9 J:!
12,Fl
Mattaku!!
(exclam.)
already December
is (emph.)
" She es h ! It's D ecembe r alread !" (PL3)
::r:t :t ...
Go- . .. (sound of a.c. shutting down )
Goro:
..
<"
li ~ '? , ~ 7 T
Hora!, mo sugu
"/;{
ga
;toeg=~/v
oJ..:yaku-san
"/)> ~
*J.,
kuru
kara
:1 - l::: kohii
.An cr ~ "' J: o
irete kudasai
yo.
(cmph. )
(intcrj.) soon/shortly (hon.)-customers-(hon.) (subj.) will come because/so coffee
please make
"Look the cus tomers will be comin g s oon, s o would l'OU ~lease make the coffee." (PL3)
hora is an interjection used to get the listener to notice/pay attention to something: " Hey!/Look!/Come on!"
o, to mark kohii ( from English ..coffee' ') as the object of irete kudasai, has been omitted. /rete is the -te form of
ireru ("put in,'' or when speaking of coffee/tea, ''make/pour"), and kudasai after the -te form of a verb makes a
fairly polite request.
Sound FX:
purururu (or puru puru. bunt buru, burururu, etc.) represents shiveri ng/shak-
7' Jv Jv Jv ...
ing. Since a penguin prefers cold, he's apparently shivering from the heat.
Punt runt
Brrrr (effect of shiveri ng)
Q: ;to"/;' l "'
Re- re- re- reibo on the previous page presumably represents a s imi lar e ffect
of trying to speak while his teeth are chattering fro m the heat.
Okashii.
strange/odd
" That's odd." (PL2)
:J' o Gori5
~= (;t
ni wa
JL ~ lv ~= Je_,ZJ.,
Ky7-san
111
(J) "/)>?
1nieru no ka ?
(name)
to as-for (name-hon.) as appear (explan.-?)
"To Goro I mus t (_still) look like Q," (PL2)
Goro: "'~-? l~~t,iit- !!
lrasshaimase-.1.1
moningu juratsui!
two
(namc-hon.)
morning
Q, two mornings!" (PL2)
welcome
" Welcome! (PL4)
:F ...
Sound FX:
11~-'r'
Gosha
Q: t!.~ t!. !!
Dame da!!
'?'i
I')~/.:'/
Yahari
peng in
t!. !!
da!!
after all
penguin
am
no good is
" It's no u se! I I r e alll' am a pen~min_!" (PL2)
G_9ro:
<b-<b
A-a
")ii"\
"/)> ~ . ..
kara ...
~ -:A ~ t
tosuto
J: o
y o.
(hon. )-request
(em ph.)
toast
and salad
" Plea se (ma k e) th e toas t and s alad?" (PL3)
the expression ... wa ii (kara) is literally "(because) ... is fine/okay," but often implies "it's
okay for you not to do .. ."
" never mind/
forget the ... "
to= ..and'' for between two nouns.
onegai is from negai, " request,'' and onegai
surulshimasu, meaning ..(1) make a request/ask
a favor," is often used as an equivalent of
"please." The ho norific prefix a- is always neeessary for this use - though it can be omitted
when us ing negai in other ways.
M ANGAJIN
53
t!&Q Katsu-Shi ka 0
1:'1i1J
T~
'/} "'?
!11:
A,
..... __
L-:iO*ffiia
~ p I A t;,
~,
T
~,, ?r' -r "'?
!!
!I
I t:t
(J) I. \
1i'"f
5 4
M ANG A JIN
~'
-r
tSMQ Katsu-Shika 0
@J
Sound FX:
-+r 7 . . -+r 7 ..
Saku .. Saku ..
(a crisp sound, here of knife cutting thro ugh bread crust)
Sound FX: / - /
81711
(hum of toaster oven)
C ustomer A: 7
'J
7 :..-
Fukkushi
"Ach oo!" (sneeze; a variation on hakushon, the standard sneeze sound)
C ustomer 8: ~ J.J..- o
Sanli-.
cold
" Brrrr."
Goro:
1L ~ lv "* t.:.
Kyt7-san mata
if.> -?
A!
oh!/hcy!
~ ))}
~ !!
reibo
o!!
~-= L.-cr~v'!!
ni shite kudasai!!
iPtflv
kagen
Gor o: "'"'
li
good/fine cxtem/degrcc
please make it
to
;\ 7
-+r 7 .Y "C" T
Sarada desu
salad
is
J: !! -+r 7 .Y!!
yo!!
Sarada!!
(cmph.)
salad
FX:
~ /-\" 1)
Hin 'yari
..
(effect of cool/chill)
Gor o :
-c
Nani
yaue
lv "C" T ~'!!
n desu ka!!
what
arc doing
{cxplan.-?)
~ -?
fiiJ
Q:
~ / .: / t.::
Pengin
da
penguin
kara
am because/so
'b
dekimasen.
so I
cannot do
*- ,
MO-.
(interj.)
Wake
(J)
no
thing
please don't do
Hora.t
}J.t:>litv'LiT!!
Nayande-naide
ho onegaishimasu.t!
odii
orders
no
s direction
please do
M ANGA JIN
55
~MiQ Katsu-Shika
!? {iiJ ;t
"'[--:>
-t ?
-r
v 1 2
MANGAJII)I
0 ~~ "'? 1
~
o _
-{
56
{f,fijQ Katsu-Shika 0
1:1
futatsu. lkko
Moningu
v~/71 - "t: o
reman tii
de.
morning
two
one
lemon tea
\\ llh
" Two mornings. One with le mon tea." ( PL2)
Sound FX:
/~
(in~tead
of the
7 ;-\ 7
Paku paku
(effect of opening and closing mouth)
Goro:
7... --:>?
!?
1PJ
--c !?
tte!?
-c>-9 --:>
Nan desu
huh?/what? what
is
(quote)
" Huh? What did vou s av?" ( PL3)
Q: 7.:\"-- :;
Kukii!
(sound of a penguin's cry of a ng uish )
Sound FX:
J~-7
J'\-7
J~-7
Goro: cl?--:>
A!
Kyii-san!!
oh!fhey! (name-hon.)
" H eyLQl" ( PL3)
FX: 7'7/
Puan
(effec t of light c hangi ng)
Sound FX:
:J":t :t
**
Gooooo
(roar of traffic)
Q:
Q: LiP L
Shikashi
tokoro de
ikc7 is the volitio nal ("Let' s/1 sha ll") form of iku
("go").
t ' -)
do
7j: 0?
na ru ?
but
went even if were to how/what become/happen
"But even if I were_to_go what would happen?" ( PL2)
Q: ~/- / -eT o
Pengin
desu.
penguin
am
" I ' m a ~enguin." (PL3)
Doctor:
-t--J-c>-9 J: o
yo.
(emph. )
is so
" You certainly are." ( PL3)
So desu
m~ -to /v f.: !!
Do setsumei suru n da!!
Q: t'-)
11-;;7-tJ:;-T
Katchi katchi
C lick click (sound accompanying the nas h of the ped estrian light)
MAN GAJtN
57
l:'5MQ Katsu-Shika 0
~'
1J b
~:f'
:~
~ ~
1J ~ ;,;
"?1':, ~-
~-r~;.-0)
c h
0)
t::.-"')
t::
!?
n~
1 I
t;~
c t:.
I?
58
MANGA JI N
:ff,fil5Q Katsu5hika 0
Q: .: tL li ~
(J) l.J- ,Z t:. ~**
7i (J) tJ' !?
Kore wa kami no ataeta shiren na no ka!?
this
as-for
god
(subj.)
gave
LriaVtest
(explan.-? )
"\-? .. .
/ .: /
Pengin
penguin
's
feelings
also
iu .. .
(quote)
say
Bibii Bii
Q:
/\ 'J
Ha!
7ffi
(car horns)
t..~ II
Aka da!!
(interj.) red
is
@]
Q: l:: 1
Hii
Sou nd_~X:
Beep
"Yikes!"
1 :i:t:t:t
1 ~ 7 1~7
Para para I
Goooo
Patter patter I Vrooom (roar of lraffic)
@)
Sound_FX:
Q:
/\ 7 /\ 7
penguin
.t -
< b tJ'
yoku
t::. 0
wakatta.
understand
c:- t.:
do
Q) t.: !?
yii no da?
~-
da to
t ~ 1i "' . . .
ja nai .. .
isn't it
li
wa
.BT5
o-mise
1:
mi
ni kao
1:1:\l"C
dashire
~o
ne.
~o
ne.
Madame: t:. i 1:
Tama ni
gobusata is a greeting used with someone you have not seen or heard from in
a long time. Go- is honorific (standard
for the greeting), and busata is lit.
"without communicationltidjngs.
(o-)mise can refer to almost any kind of
"shop" or retail establishment, but since
she seems to be standing in front of a
bar, we translated it as "club" here.
dashite is the -Le form of dasu ("put/
take out" -+ "show/display"), used here
as an informal request, "please." The
colloquialne at the end of a request
urges compliance/obedience.
shimei = 'nomination/designation" and
shimei suru ="nominate/designate." In
the context of night spots, it refers to
designating/asking for a speci ric hostess rather than simply taking wl oever
comes.These women are presumably all
bar/club hostesses.
MAN GAJIN
59
J!,iiltiQ K atsu-Shik a 0
l J:t.
-r IJ ;.;
~' ~
,c_, f*
;f If
=' "'f fp
.:, :? ;.;
IJ
I 7 1: fp
!!
60
MA N GA JI N
Q: -? - ~) , ~ ci: ~ i b
Omu
yahari
1;
A rr11
(J)
ningen
of
people/humans
)L ~ !v C L. ""( ~~~ ~
KyL7-san toshite utsuru
as
u ': ti
(J)
no
(name-hon.)
mawari
no me
s
eyes
111
wa
in a~>- for
L. 1, ' o
rashii.
rellectlappear apparently
t.:
w hy
t.:.
(explan.- ? )
penguin
am (emph.) (colloq.)
making a judgment/conjecture
based on something he/she has
seen/heard: "apparently/it
seems/1 g uess.
na (lengthened for emphasis) is
used as a kind o f self-check/
confirmation when speaking/
thinking to o neself: "that seems
to be the case. doesn't it?"
FX: ::: l7 .. .
Coku ... G ulp .
Ba rrel: fr.l1 1i
Uokichi (common fi shmonger name)
Q:
1,\'/)'/v
Ikon
not good/won't do not good/won' t do
"Oh~ no. This won ' t do." (PL2)
fh.
Wf!~
"? 1,\
Tsui
L'
~:
fish
by
ubawarete shimau.
heart (subj.)
is stolen-( regret)
Q: f(j!
A ra~
!i
Ore wa
1/me
a~-for
~lvt.!. o
na 11 da. I
ningen
ja nai n da.
Pe11gin
penguin
(explan.-am not )
I \ :;
Ha!
~~
Jl
egg
(J)
as hi
(obj.) foot
E. [- k (
Oji Tamago
i~~-c"'' !
"'C".:Z.v' !!
Yaomasa
(cxclam.)
I {if
!i1JdJ1J'
/:/ t:
.(.,
i"C'
only-?
heart
even/too
c L. ""(I, \ ~ -!!
0 -?
narikiro
~ ~) ~
pe11gin
ni
pengui n
to shite-iru-!!
is about to
Q:
rn .j.j~
"
e
f) .:. -J
ikf).
South Pole/Antarctica to
shall go
Nank voku
110
de atatamete-im!!
(name) eggs
-r-
Efl
no ko
of top with
am warming
warmin~ on my feet."
Q:
Crates:
..
iM is the voli tional ("wi ll/
shall") form of iku (" go").
61
~~Q Katsu-Shika
62
MANGAJIN
~fi!PQ Katsu-Shika
~?
Q: .::. "?
Kif
t l""C jj(J
toshite n1une
natta
ijO
pengin
since
pengu in
as
chest
~~
!i? -r
haue
-r \t'.::. -? !
ikire ikO!
"Since it's come to this, I'll throw my chest out (proudly) and Iiy_e_as~uin." (PL2)
I') ~ ~ !i 'JL ~ lv ~ lv t!.fJ' ~ 'JL ~ lv
t l -r
:8 jfz
~ t.:./1; -r .. .
-r wa
Toriaezu
for starters
as-for (name-hon.)
because I am
toshite
okane
o ramete . . .
"For starters since I'm 0. I'll save uo my money in the capacity _Q(_Q, and ..." (PL2)
a verb followed by ijo means "since/seeing that/so long as (the action occurs/occurred)."
mune o haue is the -te form of mune o han1 ("throw one's chest out'"}. serving as an adverb meaning "proudly."
tamete is the -te form of tameru ("collect/accumulate,'' or when speaking of money. "save'').
Q:
r"Fuji
.s- 1.:. J 1: *? -r
" ni notte
ll! illllAG
Kansoku-sen
""" q:y.:. -? ,
1i ~
Nankyoku
iko.'
1iI! . . .
itt t:p (J)
Nankyoku .. . sekai-jL7 no
Antarctica
.:' /
/"{ /
entire world s
pengin
(/)
will go
lfl :t!! 0
no tsudou Nanf..:yoku.
Antarctica
Q:
~~ -,
A-,
(/)J-{7~1.A !!
w-
yume no paradaisu!.'
(exclam.) dream of
paradise
Knock knock
Kon kon
Goro: ll ~
7L~Iv, ~~""CT~It' o
Hora
look/come o n (name-hon.)
please get up
is (emph.)
KyL7-san,
?iliil!
reizoko
~ P. c'.:. 1: -t .Q
o nedoko ni suru
bed
lv ~ ~
n
b-?
nara mo
to make (explan.) if
mo re o ne-(count)
please buy
(cmph.)
"0 . if vou ' re I!Oinl! to use the refri2erator as a bed olease buy another one." (PL3)
Customer: <f;, filJ, .:. h o
.. . ni suru is an expression meaning "make (someA,
nani, kore.
oh!hcy what
this
Customer:
It'~ -
Iya-11,
disagreeable
huns/ouch!
Kyii-san
hen
done.
da
yo
is (emph.)
"It's from before." ..... " He was alway_s that way." (PL2)
MANGA JIN
63
Japan's Most
Famous
Salaryman
We've been thinkingfora while about reprinting part ofHirokane
Kenshi' sfamous sa/aryman mango, KachoShima Kosaku. While
this was in the works, we discovered another Shima f an: T.R.
Reid, Washington Post bureau chief in Tokyo. The following is an
excerpt from a story Reid filed to the Post last year about his
addiction to manga in general and Shima-kacho in particular.
My name is T.R. Reid and I am a mangaholic.
On the theory that the way to deal with addiction is to
confront it openly, to confess to the world, I hereby reject all my
former rationalizations- that I could quit any time I wanted, that
I was only a social reader, that it dido ' t really bother me when my
local dealer sold out before I could buy
my weekly fix.
Rather, I now concede that I am
hopelessly hooked on manga. Every
Thursday morning I race to the bookstore and plunk down 230 yen ($2.25)
for the new edition of Comic Moming.
This 340-page weekly carries about 20
continuing comic strips, including the
one I love most, "Section C hief
Shima"-agripping battle-in-the-suites
corporateepicaboutoneShimaKosakusan, a hard-working salaryman at a
giant consumer electronics company
who wages a never-ending struggle for
truth, profits and the Japanese Way.
Written and drawn by Hirokane
Kenshi-a rich, famous but still remarkablydown-to-earth manga artist it has a strikjngly realistic pictorial style
and a vast tableau of settings and characters. MANGAJJN readers will recognize the similarity of the visual sty le to
Ningen Kosaten, the series Hirokane drew to stories written by
Yajima Masao.
Our hero, Shima Kosaku, is a single, forty ish salaryman. He
heads the General Affairs Section (Our episode came a little
before this -Ed.) at " Hatsushiba" Corp., a huge consumer e lectronics multinational that is clearly modeled on Matsushita. the
Japanese giant that produces Panasonic, Nationa l and other brand
names. Hirokane himself was a salaryman at Matsushita before he
hit it big in the manga trade, and many of the triumphs and
tragedies that occur in Kach6 Shima are based quite openly on
actual events from Matsushita's corporate history.
The plot of'Section Chief Shima" involves recurring corporate crises that require Shima-san to use all his ingenuity and
charm to make sure that Hatsushiba doesn ' t lose market share to
its Japanese and American competitors. There are countless
subplots involving the financial and romantic problems of Shima
MAN GAJIN
65
~!HUIH'F
66
MAN GAJI N
~-B:IiUJH'F
QJ
Narration: R:.fffl
KachO Shima
I:tli
rJ)
iWl
li
.!f!. v' o
kojo
no
asa
wa
hayai.
as-for
early
Kyoto
s morning
Kosaku
~,a
~1.Jo-t
Jugyo-in
zen 'in
sanka suru.
all persons
participate
wa
hachiji-mae
no
rajio
tmso
ni
radio calisthenics in
J.J o
All employees participate in radio calisthenics (held) a little before 8 a.m. (PL2)
Sign: 'ti.':i:
~-
Anzen dai-ichi
no. I
safety
Safety First
Leader:
s "'-::> 1?
Oitchi
1: "' ~ lv l "' .. .
nii
san
shii . . .
Narration: -frJ)r&
19t>hJ.J
Sono aw okonawareru
after that
.. n. "':)
nrw
(=)
:fnt:~m
"Ern;:
(i,
"ltsutsu no Seishin" o
five
~J!ro~
t!HL
chorei
11/;\.Zt.:
tonaeta
~to-t'-'
.:: ~
showa suru
koto
tp G trc t. '-' 0
kara hajimaru.
act of
from
rJ)
no
begins
The morning meeting that follows be ins with a recitation in unison of "The Five S irits" set
forth by founder Yoshiwara Hatsutaro. (PL2)
Leader: - --::J,
U ~ ~Ht 11) :tl1J :t$ o
Hitotsu, slwkai hiJshi no seishin.
one/first
society service of
spirit
Workers:
'(}~--::J,
L~t.P~'
Hitotsu,
shakai
one
society
service
of
spirit
jidai no Mo goroku
n.mfl1! Plfo
~=
11)
J:: 7 7J:
iHii9
AA:W:
Mf.-9 J.,
no yo-na
senno
koka
kitai suru
11)
i! !:f:l
,;~:
s s ts tt
honsha no
renchii
wa
omune
hihan-teki
five spirits chorus of head office 's group of people as-for mostly/generally critical
de alta
were
tJ~ ..
ga .. .
but
The crew at the head office were generally critical of this recitation of the Five Spirits, which
was intended to have a brainwashing effect like the quotations of Chairman Mao during the
Great Cultural Revolution in China, but . (PL2)
bunkaku is an abbreviation of bunka daikakumei, "great cultura l revolution," referring to the 1966-69 upheava ls in China. Chinese and Korean proper nouns are read with a Japanese pronunciation, so Mao becomes Mo.
kitai suru ("look/hope/aim for") ends a complete thought/sentence ("aims for/intends a brainwashing effect
like the Mao quotations of China's cultural revolution period") modifying kono go-seishin showa ("this FiveSpirit recitation").
renchii is an informal word for referring to a group of people: "bunch/crew."
hihan = "criticism," and hihan-teki ="critical." De atta is the past of de aru, a more formal equivalent of dal
desu ("is/are"), so hihan-teki de atta = "were critical." Ni after showa marks it as the target of the criticism.
MANGAJtN 67
~:&:tH.IH'F
ftllf#T
11 ~ L
~A"'
~M
IliJ<il
lfll*
"' -r:
.-!-?
I
t1iiS
--:> ?M
"T:~t::
"'i"T:~
't t
: .:.i
=
~/)<
"'
68
M ANGAJIN
~ft ~#t-it
j!!r.j.J
renclrii
Q)
kmclri
110
H l: 0
(j
a~-for
be
lil::'
~ill'
lwdo
su11ao de
<
odoroku
11'0
\urpri~d
.llj
f! o
slri11ke11 da.
are
. . . the people here are amazingl cooperative and serious about it (PL2)
oo
,:(J)
~ (j
Ko11o mnjime-sa 1ra.
this
*U
lronslra
nrt
(J) t '>
lli:~<'
~fi~$
110 torill'ake ll'areware sende11-bu
t:
U:
ni
wa
1r,..
panicularly
(J) ~"P
110 re11clu/
l'<n.-:>f~ o
kaimu
de ell/a.
wa~
Such an earnestness was com letely lacking among_those at the head office- at least amone
the crew in the Advertising Department. (PL2)
kotchi. an informal fom1 of koclrira (lit. ''this side/direction"), is often used to refer to one's present location,
"here," especially in the contex t of contrast ing it with another location.
de is essentially the -te form of da/de.,u ("is/are"). and it adds the meaning "and,'' so su11ao de means " is/are
docile/meek/cooperati ve/acquiescent and ..."
shi11ke11 literally means "real sword." (a~ opposed to a wooden or bamboo sword used for practice/training),
and it's not hard to see how that leads to the idiomatic meaning of "serious(ness)/earnest(ness)."
majime is another word for "serious/earnest": adding -sa makes it a noun: "seriousness/earnestness."
lronsha no (''the head office's") and toriuake wareware senden-buno ("pan icularly our advenising
depanment's" ) both modify re11clul ("bunch/crew") separately.
roriwake = panicularly/especially." but he u~e~ it here for the meaning. "speaking in pmicular of (the advertising depanmem)" rather than "(the advenising depanment) is especially/more than other lacking in .....
"at least in the advenising depanment."
uare1mre means "we/us: and ware11are senden-lm is literally "we. the advenhing depanment." No makes it
possessive. so " 'are1rare senden-buno renc/ul is literally we/us. the advenising depanment's bunch/crew."
*'(
kite
1 ~1111
r:
Atarashii
shokuba
isslulkcm
ni
1110
new
tO
~.ijlj
ka
section
{/)
A.,
~}.,
i){ '
1)(/fl/
ga.
iJ{
"'ilt'-t;
110
AR~
11i11gell
ga
ima-iclli
uclriwkete ko11ai.
people
(subj.)
not quite
relax with!Clpen up to me
It's been a whole week since'l came to my new worJrnlace, but people in my section still
haven' t uite warmed up to me. (PL2)
1tt1:
Ore
tt
~~ ~
11.11 ~n~
wa
myo-11a
koritsu-ka11
Ume as-for
odd/strange
:a:o
MAN GAJ IN
69
~iHMJH'J:
w i; .:
r,
c c <
"' ~ {>
", .:. '?
(J)
_,~
I~ I ;~~;:.;
~
. ~.. l;t
.:L
~f'FI, ~~~
'? _,~ -r
,..
t::. ;:.;
~ (J)
IJ
.- ........................0
..
~~
"0) '?
tal!:
-tilft
0)'*'0)
~0)
.0).
llll 7 ti
"' 0)
t:IUJ
t:
ft.
l..,
"'(
70
M ANGAJIN
~"'k
tr 7 1ii'
.t. U II"
-tAO>
.t. l at;
-t "'(
L
\.
"t
l!:
\.
[I)
Narration:
~ ll
"htt~
IJ
M ~ lv
ichigensan
1;1:,
Kyoto wa
Yahari
H Wf 1)
>jl{f~
(!)
lhis
tokoro
ga
nokotte-iru
(subj .)
remains
lv
11
t!.7?
~ 1J'o
daro ka.
newcomer~gerhaps
1J!
okotowari no shiizoku
wa
tJH~
(!)
Cion
no sekai to
kyotsrl sum
tokoro
na 11
daro ka.
iclrigen-san means first time/chance customer: referring to a cu tomer who shows up at a teahouse/exclusive restaurant by himself instead of being brought there and introduced by someone already known to the establishment.
Kotowari is a noun form of kotowaru ("refuse/tum down"). and ichigen-san o-korowari essentially means "chance
customers (respectfully) refused." The teahouses of Gion. in KyOto. are known for adhering to this policy.
nokolle-iru is from nokoru ("remain/be left over") -+ " has remained/still lingers:'
rokoro is literally ''place," here referring more abstractly to "aspect/characteristic." Haitatekina tokoro ="cliquish
aspect"-+ "cliquishness."
chigau.
rio
is different
[!]
Na rration:
!.c+t.H
1J{
Joslri-slrain
ga
f!fl.: -?)f.:."'
rokuni
no da.
cold
(explan.)-is
<fJ (!)
tJ
Yalwri
(!)
n 1;1: -r .li.ld:
<fJ (/)
~5
1.: lr.( ~
lratsugen ni gen 'in
karulra~umi-na
(!)f.!.o
tsumetai
I hat
rash/care less
s1a1ement in
ga
aru
T he female employees in particular are cold and distant. It must be because of the rash comment
I made that day. (PL2)
yalrari indicates that he is contirming a previous suspicion. implying. "so it isn't a maner of cliquishness after all."
[?]
~/
<1d: "'
ll
<fJ i IJ
pan
wa
amari
rrmakrmai
na.
bread
a~-for
no11as1y
(colloq.)
(remembering) Kono
this
-') i
1d: o
Senmon-ka o
experts
~ 6') "(
atsumete
"?
\,I
I\ /
(/)
;)
.=. .;J.. -
motto
umai
pan
no
menyll
tasty
bread
of
menu
o t.mkuttara
ii
C
ro
,f!j!, ~ Jd: o
omou 1ur.
" I think we should assemble some experts and (haye them make a menu of tastier breads! ' (PL2)
this frame is a flashback to the preceeding chapter when Shima has just arrived at his new post in Kyoto and is taken
on a tour of the factory. He was shown the company's new hit product. a bread making machine, and was asked to
sample some of the bread. He did not know it at the time, but the recipes and methods for making bread with the
machine had been developed by the female employees at the factory. His offhand comments created considerable
antagonism toward him. but at the root of the problem is the fact that Shima simply does not like bread.
amari followed by a negati ve mean~ "not very .. :
... tara ii (to omou) is literally "(I think) it is/will be good if .. : "(I think) we should .. :
'
(!)
~T.fJ
no Suzukamo
advertising section s
(name)
v' -'J
17:.7-
to
iu
josili
(quot~)
called
ttn
shain
i '"C"
made
yosoyososhii.
somehow
distant/cool
Even the woma n named Suzukamo in my_section seems distant someh_pw. (PL2)
Suzukamo:
c' ? -t'o
Du:.o.
pie:be
dow is a polite word widely used when offering something. especial ly food or drink. It corresponds to Eng lish
"please" in the sense of "please lakc/eal/drinklhavc'' rather than "please give me: See Basic Japanese 9.
(comilrued on following page)
M ANGAJIN
7 1
~ :lHHIH'F
1t 1E fl9
faJ
MJ:
-tlltlll .., ')
Q>'/rQ>
Q) "'Jl "'( t
...t.t\.Q) \.to
t: "'(
.m
\.' t:
~ 0 l~
l~
f?.l (7)
~t:8
\.\
ldt
t:
Q)
l~
.m
Q)
...t.
t:
72
M ANGAJIN
~lll-K&UIH'F
@J
Narration:
~-=>C ft1t
Kiuo
I})
ore no
!J:I])r
l})r~H:
among
I})
no
rti-=>-r ,
~t'-e
Su~ukamo
Jlil);/~lfl
slrokuba-jii
has spread-&
(name)
t f:l}) ::c
mo sono koto
:a: llr1v't.:.
o
kiilll.
Most like! nast rumors a bout me haves read among all the girls in this workplace, and
Suzukamo has heard them too. (PL2)
Sound FX: iJ :; iJ :;
Ka! ka' (sound of shoes clicking against floor)
killo is used when making conjectures with varying degrees of confidence ("maybe/probably/surely/undoubt-
@]
Narration: M
J:
Nani
yori
t
mo
~0$;~:::
nyojitsu ni
~~~h't'o>J.,
monogatatte-im
fJl
1: t:_'o
I})
!i
no
wa tsukue no ue da.
what more than even vividly/graphically tell s/demonstrates (nom.) as- for
desk
I})
top
is
What proves this more graphically than anything else is m y desktop_, (PL2)
1!E
I}) ~liH~ I})
fJL 1: li -Hi B .{t. 'IJ{ llU.dt -r "' J.> I}) l: ,
Hoka 110 kaclro no tsukue ni
other
fte:
fJl
desks
wa mainiclri lrana
I})
J:: (:::
(;j:
{E:t!,~
ore no tsukue no
ue ni
11a
zen:en
lime 's
I})
desk
ga
okarete-iru
no ni,
is placed
even though
nai.
Even thou h flowers are placed every day on the desks of the other ma na ers there aren't
any flower s on m desk at all. (PL2)
110ni yori mo ("what'' + "more than"+ "even") makes an expression meaning "more than anything."
nyojitsu ="reality"' and nvojitsuni is its adverb form. 'in a real/realistic manner"--+ "vividly/graphically."
monogataue-iru is from monoga/aru. literally "narrate/tell of/recount," but used idiomatically to mean "indicate/demonstrate/prove."
no is a "nominalizer" that turns nani yori mo nyojitsu ni monogatatte iru into a noun, like saying "the thing
that demonstrates this more graphically than anything else.'' Wa marks this noun as the topic: "As for the
thing that . .."
okarete-iru is from okareru, the passive form of oku ("set down/place/leave").
::.em.en followed by a negative means "not at all.''
-v iJ"+ '\'
FX:
J{ :;
@]
Sound FX:
F-IT;;
Doscr! (dull "thud" of plopping down on the chair)
Shima: .b-?
Fii
that, but this Shima look-alike was having a drink with a woman
who bore a striking resemblance to Gmachi Kuniko. This turned
out to be a new "graphic novel" by the same Hirokane Kenshi,
running in every issue of Mister. The Shima look-alike is another
salaryman, Kaji Ryusuke, and the beautiful girlfriend is an OLat
73
~-G:tHIH'J:
74
MAN G AJ I N
r )V )V )V
Shima Kosaku
"' )V )V )V
~l____So_u_n_d_F_X_:~r~Jv=J=v~Jv~----------------------------------------------------~
Donmmt
Brinnng
~~
moshi-moshi, Nami
oh/uh
hello
fJ' o
!)X:~ A..
ka.
Orosan
(name)
f!. o
da.
(hon.)-fathcr-(hon.) is
genki
1111,
uh-huh
t!.
J: o
i t!.
da
yo.
Mada
(cmph.)
still
~~
okire-nt
no ka?
up/awake (explan.-?)
"""'
U"'h'-'
-h'"'"u',.,h"-'. ......,e=
a h~
l'_,_.m..,_,
rm
=e,_
.Y
~
o"""
u_,
' r"""e'""s"'
ti"'
ll'-'u~..._h""u=-'-?"
h
(PL2)
Sound FX: -:1-T -::J-1- -:1-T
!.-'
'
Shima:
(j:
Jirsu wa
.Q,
ne,
i:> X
A.. t!. o
orosan
mara
chorro
Dad
again
n da.
"Actually, I'm a little troubled again." "Actuallv. I' ve e:ot a little problem ae:ain. " (PL2)
jirsu =truth/fact," sojirsu wa is literally "in fact/actually/to tell the truth." It's often used on the phone and in
letters tO bring up the "true/actual" purpose of one's call or letter, after the openjng formalities.
ne in the middle of a sentence is a k.ind of verbal pause. similar to English "you know."
nayande-ru is a contraction of nayande-iru, from nayamu ("fret/worry/be troubled"'). Using the -de-iru form
shows that his worries/troubles are on-going/continuing.
n dais a contraction of explanatory no da, literally "it's that ..."
Nami:
(J)?
no?
ltte goran.
say-and see
1111
fiin .. .
uh-huh
uh-huh
hmmm
M ANGAJ IN
75
~~ ~f#:1'F
Kach o Shima
Kosaku
"' ; 0) "'
..
A-J:: r~O) i"l:
l:-}~J::~""'
""' 1: IJ1
l;t
t:t
:t;
l.'tl..l. '
? I! L-
t:t
1: I.'
l;t
n.
I!
l: \.'
~
7
\.' 7
:.b-::>
!-r
f.l:
I~
o/
ll.
~ j3-
!-
c:
1.1:
tt. =~~
76
M ANGA J IN
~~R~#H'F
H~
suki ni
Kallfan
ja nai.
Pan
easy
isn't it?
bread (obj.)
like
nareba
to
(/)
J: o
no
yo.
"But it's easv. All vou have to do is learn to like bread." (PL2)
-f:(f) 1~/
tJ~ Hlt'l...v' c
.~.-)
J:-)1: ~hi! "'"'
Sono
pan
ga
oishii
to
o1nou
bread (subj.) delicious (quote) lhink
that
A- t.::~ld:lt'?
yii "'
nareba
so that
ii
ja nai?
" Isn' t it fa matter of) getting so you think the bread is delicious?" (PL2)
ja nai looks like "is not," but here it is being used as a rhetorical question. "(It's easy), isn' t it? (Of course it is!)"
suki ="like" so suki ni naru is literally "become to like" "get/learn/grow to like." Suki really should take
ga. ("pan ga suki ni nareba ... ")but the use of o is increasing. especially among younger people.
ii means "good/fine," and -ba ii makes an expression meaning ''it is enough to do -/all you have to do is-.''
ending a sentence with the explanatory no plus yo is feminine. In most such cases men would say n(o) da yo.
... yiJ ni nareba is a conditio nal "ir' form of ... yiJ ni naru, "get/become so that ..."; omou yiJ ni naru =
"get/become so that you think .. :
the second janai? has a question mark to clearly indicate that it's a question. ln informal speech it's very
common to ask questions without using the question particle ka. simply by ending the sentence with the intonation of a question.
Dare
(name)
who
to hanashiteru
with
no?
Jjf.tlfl
(f)
.i> X ~ A-
n' e;, o
IH 1.>?
A.
Mama. I
Kyoto
110
otiisan
kara. I
Deru?
oh.
Mom
(place)
in
Dad
from
answer/speak?
Nami: ih,
? ? o
Nami:
77,
ii
Mama,
Morn
lie!
Ja
ne!
____
~l
.
~_-
so_u_n_d_r_x_:__
__J
Tsii ________________________________________________________
(sou nd of dial tone)
Sound FX: 1- /
Chin (slight "ping" of phone bell as he returns handset to its c radle)
Narration:
~~ :.-
Pan
suki
ni llare. . .
ka.
like
to
i' it?
bread (obj.)
L~arn
become
Naruhodo.
indeed
namhodo expresses one's understanding of what has been said: "aha/1 see/indeed/really"
MA NGAJIN
77
~~~M:f'F
f:>
I~
j}
.:.
~fJ' / ~8t1.
"? i (f) t:: I ~ fJ'
.t. ~~ n
; :..- L~ ~ li
t->Y<l
-r i
78
MANGAJIN
~R:JiUJH'F
pin pan
Sign: f:X:.R.
11
Shirsu
Tt}h :J.. o - 1l /
Fushimi
(place)
Kojo
Surogan
plant/factory
slogan
Narration: -t -?
So
i!S'H
Shishin
Quality Improvement
Action Guidelines
cJ t
11a11 da.
Hirorsu no sluJhin
-? (J)
ifli Jh
IMl ~ T J.>
(J) 1:
kaiharsu suru
develop
ni
110
li
-t- -? ~., -?
~ 1J
it!! ill: ~
jilnichi-na
in order to as-for
~v
ward on the
southern edge
of Kyoto.
wa
Fushimi is a
action/behavior guidelines
~ lv t!. o
lr!WJ
Kodo
(.lin J.>
Takameru
t:.. o
n da.
begins (explanlemph.)
':1
Cacha! (""rattle.. of door knob or of door closing device staning to pull door shut behind him)
@J
Narration:
itt~
CM
shohin no
we
finished
shii-em11
"Until now, we were only doing the work of making commercials for fini shed products."
All we' ve been doinguntil now was make commercials for_nroducts that bad already been fully dey_elopcd. (PL2)
.f -j \;l-?
So i11
~~
~~.i"Lf..:
1:
kage
ni kakurera
#%"
kuro
<
:@:
~ '-:> ~ n' :d..: o
mattaku
shiranakaua.
On Can:
::2
tJ
::2 -
Koka kora
developing the recipes and methods for making bread had been very difficult and had taken over a year.
ore is an informal/rough word for "'lime'' used by men. -racl1i makes it plural, ''we," referring to members of the
senden-bu ( ..adveni ing depanment") Shima belonged to in Tokyo, before his recent transfer.
dekiagaua is the plain/abrupt past form of dekiagaru (''[something) is completed/finished"). The verb modifies
shohin ("product' '), which in turn modifies CM, pronounced shii-emu, an abbreviation deriving f ro m English
..commercial(s)" that has effectively become a naturalized Japanese word.
Narration: .:tl..n''-:>
Korekara
~it
li
chiishoku
wa
J{/
mainichi pan
if~8
-? o
rabeyO.
shall cal
From___lliD!_on I'm going to eat bread for lunch ever v dav. (PL2)
H~':';t ~tl.~("lb. ;{;.,- (J) ~L.:m;L
t;< bn'J.> i"t',{/
ft""-::>-:11tJ:-? o
tabe-rsuzukeyo.
like
to
Even if I
::2
tJ
::2 -
pan no yoshi-ashi
that
ga
be-
Koka kora
Sore
ga
even if can "t become bread s good-and-bad (subj.) understand until bread (obj .) shall continue to eat
can' t learn to likillJ'm going to keep~tinebread until I know the difference
tween_~tood
On Can:
ft""J:
fix showing his intent to continue do ing the action (eating bread).
ore 110
rswni
aganau
rada
hirorsu no
holto
nan da.
That's the one and onl way_I can make a mends for what I said. (PL2)
ore 110 rswni o agana11 ("make amends for my misdeed") and rada hirors11 11o (''the one and only") both modify hiJho
( ..method/means/way").
MAN GAJtN
79
~Jd_iL~ l'JH'F
80
M ANGAJIN
~~ tUJH-'1:
"Sound" FX:
~7
'/
Narration: fh'
Nagai
t!..o
84
(J)
shokuzai
no hibi
long atonement/expiation of
days
da.
is/are
Menu Sii!DS: tJ
v- -? c.' lv
Kare
Cur__a_ Udon
Middle:
Ten~ru
udon
Katsu kare
curry
~ibll
(J)
Temoura Zarusoba
~~]t
:J..J~I/ :; 71-
Konshii no zangyo-shoku
this week s
ramen
Cutlet Curry
Ramen
Supageuii
overtime meal
spaghetti
Ramen
]t
kudasai! Shokudo
go-renraku
jj.g
~.fit~
Un 'ei
linkai
(For/when/if . . .) olease contact the . .. Section. Dininl! Room Steerinaz Committee (PLA)
udon is a thick, white noodle, usually served in a hot broth flavored with soy sauce. Kare udon has a curry-sauce
added.
zaru is short for zarusoba, in which soba refers to a ligbtbrown buckwheat noodle thinner than udon. Soba is also
eaten in a hot broth, but zaru refers to a bamboo frameldrainboard on which soba is served cold, topped with
shredded nori ("seaweed") and with a dipping sauce on the side. For tenzaru, some kind of tempura (shrimp and/or
vegetable) is included on the top or side as well.
katsu is short for katsuretstt, the katakana rendering of "cutlet," which unless specitied otherwise means "pork cutlet." Katsu kare is a mound of rice topped with a pork cutlet and curry sauce.
renraku is a noun referring to the act of getting in touch with/relaying information to someone. Adding the honorific prefix go- and kudasai makes a polite request, "please contact ..."
yaue is from yant ("do"), and kO yaue
= "in this way" -+ "this is how ..."
umidasareru is the passive form of
umidasu ("bear/create"), from !IIIIU
("give birth") and dasu ("take/put out").
wakaue kita is from wakaru ("come to
know/understand") and kuru ("come").
Kuru after the -te form of a verb often
means "begin to (do the action).''
Ne,
Shima
Kacho,
tlo
inaku naru
wa
ne.
disappears
c.::
lunch
's time
t:rr-?"C'
Doko ni
iue-ru
at
(J)?
no?
~(:,~v' o
Shiranai.
Narration:
Ore
wa
ganbant
zo.
.l'f! <
$~$
(J)
Hayaku
jigyo-bu
Allfl 1:
IJ
1.> A..t!!!
M ANGAJIN
81
~-LHl~H'F
82
MANGA J IN
,
~!{tUJFf'F
@J
SW: ~~
Jigyo
mil{
Bucho-
shitsu
KachO Shima
Kosaku
@]
Narration:
~~1ll:
Torishimariyaku
director
Dennetsu-ki
Jigyo-bu
Shun 'ichi
(given name)
@]
.:\'- ~
li
wa
Shima-kwr, kimi
(name-hon.)
~ Mt
tl
tiBI~ .0
eigo
ga
dekiru
lv-? :d.:.
11 yatta
1j: !
na!
Hai.
EJ
-kun is an equiva lent of -san ("Mr./Ms.") used among males of equal rank, or by superiors when speaking to or
about their subordinates (either male or female).
dekiru is literally "can/able to do," but when speaking of a language, it means "speak/know/understand.''
n is a contraction of explanatory no, and yatta is Kansai dialect for datta. the past form of da (''is/are'').
na is a mostly masculine equivalent of ne, which expects the listener to agree with/confirm the statement: "right?/
isn't it so?"
-1
Kurashige: 7 ;.
1) 'h \."
Amerika de
America
t .: (J) ~~ /;;. -
in
1Jf
'hpan mekii
uuoko no
our
bread makers
ga
gottsii
1:
hyoban ni
popular to
1j:
~ J:
-c
nariyotte
1j:,
na,
" In America our bread makers have_e~tten really popular, you know and . .."
7/ jJ ::;! (J)
~i~
BIJ{;$: (/) :r. 7 1 ~ lv -/)~ i!i: \,\ ? -!;, ~: t ? t
J: .0 lv-? 0
Shikago
keizai
110
dantai
110
erai-san
's
VlPs
ga chikai uchi ni
dolto
kiyoru
n ya.
"a whole bunch of business leaders from Chicago will be coming to visit in the near future." (PL2)
-t-lv II#
Son toki
that
(;l
~ F91~
wa
annai-yaku
tanomi-tai
lv-? -/){!
n ya ga!
" I want to ask you to show them a round a bit while they' re here." (PL2)
uttoko no is a dialect contraction of uchi no tokoro no (lit. "our place's" "our").
gottsii is dialect for gotsuku, an informal/slang word for "highly/greatly/very much."
hyoban is literally "reputation," referring to how something is being received by the public; hyiiban ni naru can
mean just " is being talked about" or it can mean " is being received well/has become popular" (cf., hyiJban ga ii ="is
popular/being received well" and hyoban ga warui = " is unpopular/being receive poorly").
nariyotte is a dialect form of natte, the -te form of naru ("become"), and kiyoru is dialect for kuru ("come/w ill
come"). Inserting a form of yoru (yotte is it's -te form) into verbs is especially common in Kansai dailect.
erai-san is an informal equivalent of o-eragata ("dignitaries/YIPs"). Erai is an adjective meaning "eminent/important" (for describing people), and -san has been added to make a noun meaning " important person/people."
son is a contraction of sono ("that'').
o, to mark the object, has been omitted after annai-yaku ("guide").
tanomi-tai is the " want to" form of tanomu ("ask a favor/make a request"). N ya is dialect for explanatory n(o) da.
ga literally means ''but," but here merely serves as a "softener" for the sentence ending.
@]
Shima: b fJ'
~ I L. t.: !
Wakarimashita.
understood
MAN GAJIN
83
~ft!&if1!:ft
84
MANGAJ I N
~~.fb#Ht
GJ
Kurashige: -f il7J' I?
Sorekara
yoru
II'O,
Cion e
tsuretelle
take-and
entcnain
ya.
please (emph.)
"And in the evening I 'd like you to take them to Gion and entertain them." (PL2)
the Cion district in Kyoto is the mo t famous of Japan's hanamachi ("Oower towns") where traditional geisha entertain the (mostly male) clients of ultra high-class restaurants with singing, dancing. witty conversation, games. and
companionship.
tsuretelle is a contraction of tsurete iue. the -te form of ts11reru ("bring/take along" for people and most animals) fol lowed by the te form of iku ("go"). Tsurete ik11 ="take (someone) along to/go with (someone) in tow."
seuai is a noun referring to the entertainment of client . and seuai s11ru is its verb form (sltite is the -te form of suru,
"do''). Kure after the -te form of a verb makes an informal request or gentle command.
this ya is a panicle used with commands/suggestion/requests to emphasize the speaker's desi re that the action be done.
@J
.:!?*-~
Shima: ftt!E?
Cion?
"t'T7r?
Ochaya
desu ka?
(place) (hon.)-teahouse
is it?
@]
Kurashige: -f-? o
.:. tl7)'
So ya.
is so/right
~' -?
I? .:. -?
Korekara
ko iu
.:. c
i i
~F.>
koto
mo
mama
ant
110 de
occa~ionally/oftcn
exist/occur
because/so
(f)
-c:
"That's ri2ht. This kind of thing will ha(!~periodically__ft:_om now on so ... "
.:\'-~
b 1.-'L -f:(f) /Jlfii t: /JJi -/)t
~<
J:-Jt: /j:-::>}::.~'1.:. 1J7J{P'v' 0
kimi
you
also
a little
11i
that direction in
kao
ga
kiku
yo 11i
11at1oita
ho ga ii.
" it' d be best if vou made vour face known around the re." (PL2)
soya is dialect for soda ("it is so/that's right").
kiku means "be effective/have effect... so kao ga kiku is literally "(one's) face has effect,.. meaning one's face is
known/recognized and has some pull. Kao ga kiku yo ni naru ="become so that your face is known."
nauoita is a contraction of naue oita. from naru ("become") and the past of oku ("sellplacelleave"). Oku after the -te
form of a verb implies doing the action ahead of time/in preparation for some later event/purpose.
Kurashige:
-f-? {>
Soya
A,~
'7 ~
Konban washi
lj: o
na.
Ume
t:
"? ~ :t:;
ni
1 "(
<it o
tsukiote k11re.
.!1111
familiar
:ao
*rl?l- L t <
~ n' ", o
sakai.
shifkai shiwku
tHs
(f)
1J
li
sake no
ho
11a
ii'li
Shima-kun wa
"' ~t::. 7
-r
7J'?
hitonami ni.
~?
na dii m?
Shima: ;f / -t- I
Omw
women
wa
dame desu.
as-for no good
is
*(:
truly
totemo
sonna
ki
ni narenai.
I really can't get in the mood for that right now. (PL2)
MAN GAJIN
85
86
MA NGAJIN
Kacho Shima
~lHHJI:f'f.
@]
Narration: J;tfi
Kyoto
(j:
JJUE ,
1\'0
gen:.oi.
Kosaku
'~ff,t,
-JG41BT'
I.Uf,
I~DUfi it!!.
8 JIIIBT
(place name)
nado
(place name)
(place name)
fJf
:ftltr
(/)
110 lwna111achi
ga
if>
aru
/){'
ga,
but/and
famous
ga.
place
(subj.)
o-chayo
110
wo
here
her~
f.~
"ichigen-san o-kotowari"
i;,
yaku hyak11-11ijukken,
de aru.
(place name)
120 houses
c.:.-? t!.o
(J)
t't'i:r\
~c Vrlbl~~"'
no
kokushiki
place
da.
is
T here are about 120 teahouses in Cion Kobu and it is a place where the "chance customers re~pectfully refused" r ule is strictly observed. (PL2)
11ado completes the list of places. and no makes the entire list into a modifier for hanamachi (''nower town"). Nado
customarily comes at the end of a liM like this whether it is a complete list (i.e., it means "these several items") or
there are additional items left unmentioned (i.e.. it means "etc./and the like"). Thi s makes it similar to the way "including .. :can be used with both complete and paniallists in English.
the conjunction go can mean either "and" or "but" depending on the context. In this case either English rendering
seems possible.
de aru is a more formal/literary equivalent of des11 ("is/are").
-ken is a counter suflix for houses/shops/restaurants.
ku:.11sanai is the negative form of ku:.usu ("break [up]/demolish"). Kakushiki o ku::;11s11 means to "break/relax a rule/
precedent." Gento shite k11::Jtsa11ai is literally stringently not break/relax"
" strictly observe:
"iclrigeii-SOII o-kotowari" 110 kokushiki o ge11to slrite ku: usa11ai is a complete thought/sentence ("the chance customers respectfully refused' rule is stric tly observed") modifying tokoro ("place").
l;l:
Dewa.
o-choya
to
wo
i11ai
" Now, as for what's called a teahouse, exactly what kind of thing is it?"
-o
\."
Hitokuclri
de
'15
1J~
JM Wt
kyaku
ga
:.oslriki
i: .:Z li ,
ieba.
one bite/word in
if say,
customer (subj.)
b;~nquet
Ht ~
-c
karite
ijlljft
(J)
it'Hf
T 7.> c.:..:?
slmshoku
110
asobi
Sllrtt
tokoro
\."if> 7.> o
de am.
is
(PL2)
-t-.:.
1: ~~ ,
~~
Of'(f,
Soko
ni geiko,
maiko
yobi.
;tlJII! li
glj(J)
that place to geisha apprentice geisha (obj.) call/~ummon food as-for separate
caterer
from
To tha t place, they summon ~ish a and dancers_. and orde r in food from an outside
that
only
of place is
~ (J)
ippa11110
for
toriyoseru.
order in
caterer. (PL2)
f{fiS
fJt
~ 1t'
<l)
slrikii
ga takai
110
t!. o
da.
" It is a place of just !.hat, but for the ordinary person the doorsill is very high."
-+
T hat 's a ll there is to it but___ill's a place that) the 01:_dinaty_person can' t easilv visit. (PL2)
iuai places strong emphasis on the question word that follows: "who/how in the world/ where the blazes/exactly what
kind of -/etc.'' Jka11aru is an archaic equivalent of do i11 or dono yli-110 ("what kind of'), still used idiomatically.
ieba is a conditional "if' form of iu ("say"): lritokuclri de ieba = lit. "if you say it in one word"--+ " in a word."
::aslriki refers to a formal Japanese-style guest/reception/dining/banquet room wi th tatami mats on the n oor and a
decorative toko11oma ("alcove''). They can vary in size from just a few mats to a hundred or more.
kyaku ga :aslriki o karite s/ws/roku 110 asobi o s11ru is a complete thought/sentence ("customers rent a banquet room
and entenain with food and drink") modifying tokoro ("place").
geiko is the term used in Kyoto for geisha. female entertainers trained in traditional Japanese music and dance,
while maiko, literally "dancing girls," arc apprentice geisha.
87
Vocabulary Summary
abunai
at sui
heta-ni
hocho
itai
karu/wzumi-na
111/lkll
sugoi
torareru
urusai
?.:!f:i,..'
rfl.:
~T
"'t.:. "'
~flj:"f~~
tr<
i?i\..'
ct:>il.J.>
-J J.> ~"'
Q.
34
dangerous/hazardous
hot
unskillfully
kitchen/cooking knife
sore/painful
hasty/rash
peel/skin/strip off
incredible/terrible
be taken
noisy/bothersome
From Furiten-kun, Q. 40
JJJW.b'C~
t.lv~l.:
J::.JiJ 1.:
(H) L.
c ~~,~
~ l.\..'
7miJ-tJ.>
jido hanbai-ki
jinsoku-ni
johin-ni
( o )shiroyaka-na
llt.l"ukushii
yosoku suru
vending machine
swiftly
elegantly/gracefull y
gracefu 1/gentle/ladyl ike
beauti fulllovely
predict/forecast
f rom Tanaka-kun,
f!'Jrt.o
~~~
~ lib1
~ITffifi.[i
/"\./~
J"i-7
!)'~
~;-)
f*tr
r,ct;
akeru
biyo-.l'hirsu
eiga
eiga-kan
hen-na
piima
shosetsu
warau
yasttmtl
yomu
Q.
44
(day) dawns
beauty parlor
movie
movie theatre
strange/weird
perm
novel
laugh (v.)
take a day off/stay home
read
'ft..J.J.>
c ~ t)
jjijJ.>
kanningu
niru
/01/(ll"i
yowartt
cheating
resemble/take after
next door
become weak/be troubled
From Katsu-Shika 0 . p. 48
ig)
~~
1$
niRIJAn
~f#t:>
~
m~
Mtr
tt c..:.
H~' L.~'
~/.:"/
?flm
?fliiffl
iiii!i:
.ft-77"
~~
tJf!F~
it\:*it!
ararameru
byiJin
kami
kansoku -sen
kimocili
mtme
Nankyoku
nayamu
nedoko
ochitsukeru
okashii
pengin
reibo
reizoko
saikin
sarada
setsumei
shinsen-na
shiren
warm (up)/heat
hospital
God/the gods
survey/observation ship
feelings
chest
South Pole/ Antarctica
fret/brood/agonize
bed/place to sleep
calm down/pacify
strange/odd
penguin
air conditioner
refrigerator
recently
salad
explanation
fresh
trial/test
~~
tamago
tam e ru
tsudo u
lltSIIrll
wake
t.:.V:JJ.>
1Jn
~J.>
.R
egg
collect/accumulate/save
gather/collect/swarm
reflectlappear
reason/meaning
M-:tJ
7JU
tJ~11B(f:J ~
~g
m:'f'.lJ
}1.; t J.>
A:ilfZ.~~.:
;W'I'~J
itkill~
tt~1
~~
1~56-tJ.>
~~Hto
6:1'\
Jt!H4-t o
T..!'GJ
Dl1 If:
Wft.>
?i9j
JV\-t
j:l;:i!f!i"J.>
t{ffii
~3!tJ.>
~~~~~
fi~tr
~~
~n~~=
}.;1{tfji
7 ~;f'f*f~
~JJUTJ.>
:ll{i~
H~*
iS\:In
~t#-tJ.>
fJ:H1 L.@:
trm
'!1
*811--t.o
M$
11/J{D-tJ.>
'1'?/1~
t'liJ !IE:t"
JSu'I~
~)
:t-V: I:
n.u. .o
~1\
LE.~t.!-t
nn.
~.It~
/iff<
cho rei
doryoku
genzai
haitateki-na
hatsugen
hi han
hiromaru
hitonami-ni
hyoban
jimichi-na
jt7gyo-in
kage
kaihatsu suru
kakureru
kakushiki
kitai suru
kojo
koritsu
korowa ru
kuro
kuzusu
kyotsii suru
majime
m.onogataru
najimi
nayamu
nokoru
nyojirsu-ni
o-chaya
rajio taiso
sanka suru
senden-bu
senmon-ka
senniJ
settai suru
shidashi-ya
shislrin
shitsu
slriJkai suru
shokuzai
showa suru
shiizoku
soshi-sha
SU/lao-na
takameru
toku-ni
tonaeru
/Sllllli
umidasu
11\V{ISQ
:.angyo
z;ashiki
morning meetin g
effortlendeavor
at present/now
exclusive/cliquish
statement
criticism
spread/be ci rcu Iated
like most people
popularity/fame/reputation
steady/step-by-step
employees
shadows/behind the scenes
develop
hide (v.)
rule/precedent
look/aim for/expect
factory
i solati on
refuse/turn down
hardship/suffering
break (up)/demolish
have in common
seriousness/earnestness
narrate/tell of/prove
familiarity
fret/worry/be troubled
remain/be left over
vi vidly/graphically
teahouse
radio cal isthenics
participate/join
advertising dept.
experts
brainwashing
entertain (clients)
caterer
guidelines/principles
quality
introduce
atonement/expiation
sing/reci te in unison
custom
fo under
docile/meek
raise/improve/enhance
especially
advocate/preach
guilt/ misdeed
give birth to/create
rumor(s)
overtime
banquet room
The Vocabulary Summary is taken from material appearing in this issue of M ANGAJIN. It 's nor always possible to give rite complete
range of meanings for a word in this limited space, so our "definitions" are based on the usage of the word in a particular story.
88
MANGAJtN