Académique Documents
Professionnel Documents
Culture Documents
Uilff;tJ;;J(of
1994 if- 10n 1011~17 (1r!,IJ11!!11on ~til i!AJ.il;rl39-l}
JAPANESE
POP CULTURE
& LANGUAGE
LEARNING
j,
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the 1960s when the Japanese team finished in the top eight at
the 1964 T okyo Olympics and took the bronze medal in the
1968 Olympics at Mexico City. The game soon slid into popular obscurity, however. played mainly by corporate-sponsored
teams. By the late 1980s, corporate teams were playing to
crowds of o nly a few thousand spectators. A rag-tag collection of these anemic teams. combi ned with shrewd and relentless marketing. formed the beginnings of today's J-League
hysteria.
Corporate-sponsored teams have been an important part
of the Japanese sports scene for decades. Many comp<mies
maintain teams in sports such as rugby. soccer, baseball. volleyball and American football. These teams arc like supercharged versions of an American company softball team. Some
corporate ba eball teams have million-dollar budgets that include cheerleaders and all the trappings o f a pro team. Players
are on the books as company employees. but many are really
full -time athletes, some with salaries in the $200,000 range.
Like numerous other facets of corporate Japan in the 90s, however, many teams have fallen victim to the recession.
Although both J-League soccer and professional ba eball
have their roots in corporate-spon ored teams, they've taken
slid into popular obscurity = ~ I? IJ. III! (:.\!:i ti? 1L sl1irtmwna ni wosurerare [slide into = ~1.:, IJ. III! 1: (: t.: 1.> .1hirmwmc1 ni ... ni IWmj Ipopular
obscurity= ill: 1: ~11 1? it"(~ ' t.: ~' ~JUl.~ yo ni shimrete:ina_!jotai] rag-tag= ~-tt~!cl6 yosemsume ~hrewd = lUtt II Q) t.: ~' nukeme 110 nai I rappings
= filii I) 'b Cl)Jft~ alta ka:arimonolfu:okuhin face1 = ilu/f,Jtlfl men/yci11i
24 Mangajin
different paths. Pro baseball has maintained the traditional role of the corporate team as a public relations
arm, generating good will and enhancing public image for a single sponsor. In most cases, the relationship between team and company is very tight.
.. . and then there was )-League
The J-League is based on a completely different concept, and plays by different business rules. The league
is the brainchild of its chairman, Kawabuchi Saburo.
a veteran of Japan 's 1964 Olympic soccer team.
Kawabuchi's philosophy is to make money by putting on a show and marketing it like crazy.lfthe show
and the marketing are good, then corporate sponsors
will cramble to sign up. Armed with market research
indicating that interest in soccer among those in their
teens and twenties nearly matched interest in baseball, Kawabuchi started selling his vision of a professional soccer league to potential sponsors in the late
1980 . It was the peak of the bubble economy, and companies
were flush with cash and eager for new forms of promotion.
Kawabuchi lined up more than 100 sponsors.
For most teams, the primary sponsor is a large Japanese
corporation such as Mitsubishi or Mazda. Ln addition, there are
several secondary sponsors and shareholders, many of which
are foreign companies such as Nestle, Ford, and Coca-Cola.
Some teams have sponsorshi p from local citizens groups as
well. Each player's uniform is decorated with at least three corporate logos: one on the chest, one across the shoulders, and
(Opposite page) A /-League match is more than a show of athleticsthe spectacle of devoted fans (cheering on the Shimizu S-Pulse) is
port of the fun. (Above) japanese soccer legend Romosu Rui (r.) defends Verdy Kawasaki against the Kashima Antlers.
are i nstandyaccessible.
vice-versa.
J.>l!'<r. 4MB RAM: 16MB hard d~k space; VGA d"pl>>' adapt<r.
(CD ROM vcnion .available.) Audio R~uireme111s.: Muhimedia
COml"'tiblecornp<Jr<rorSoundGl':lrponablesoundadapteraY.Uiable
"l'"'"dyfrom ll,rywMe, Inc.
Mangajin 25
J- L e agu e
In addition, there's the Nabisco Cup, a short tournament for the
whole league, plus the Kodak all-star game. The season stretches
from May to November, and there are sponsors all along the
way.
TV rights and League paraphernalia also pull in lots of cash.
During the do ldrums of corporate soccer, television rights for a
game sold for about 300,000, but it didn' t really matter, since
games we re rarely televised. For J-League broadcast rights,
Kawabuchi negotiated a headline-making deal of I 0,000,000
per game. Official J-League goods such as towels, watches and
caps are all designed and manufactured by Sony Creative Products; the company markets a line of more than 200 products in
over I 00 stores nationwide. Annual sales are projected in the
$300 mjllion range. Products appeared on shelves seven months
for example, display the Coca-Co la logo across the chest, even
though its primary sponsor is the Yomiuri media chain. Mazda
sponsors a team that has the Fo rd logo on the chest. Thi seems
like a logical arrangement since Ford and Mazda have had several successful joint ventures in the automotive world, but it
will be a cold day in Okinawa before competitors share shirt
space in baseball.
Always looking for opportunities, the J-League has found
more to offer potential sponsors than individual teams-companies bid for sponsorship of the season itself. The season is
divided into two halves called stages; there ' s a winner for each
stage and then a playoff series between the two winners. This
year the first stage was named the Suntory Series (won by
Sanfrecce Hiroshima), and the second stage, the Nicos Series
(Nicos, also known as Nippon Shimpan, is a credit company).
paraphernalia = lllli!ifiiJI. kanren slrolrin doldrums = 'GtAt/ itrli'i f ushinlchintai negotiate= ~i!JiT .Q klisho suru
nnlli{
Kashima Antlers
Yokohama Fltigels
~ ~ 7 J ::L-7'Jv A
Location: Yokohama
Main Sponsors: All Nippon Airlines,
Sato Industries
Secondary Sponsors: Bandai, ldemitsu
Bellmare Hiratsuka
/'{Jv"<- v~~
Yokohama Marinos
-~
Sanfrecce Hiroshima
-It / 7 v ;; -'!- :r.. It Q
Location: Hiroshima
Main Sponsor: Mazda
Secondary Sponsors: Sumiken, Mazda
Location: Yokohama
Main Sponsor: Nissan M otors
Secondary Sponsors: Kodak japan,
Tetoro Blue International
Gamba Osaka
jf /
'"*rli
Location: Osaka
Main Sponsor: Matsushita Electric
Secondary Sponsor: Panasonic
Jubllo Iwata
; ) .:L
~ D ~JEEI
26 Mangajin
Shimizu S-Pulse
7-lf ;fc:r.. :;.. 1 ~ Jv A
Location: Shizuoka Prefecture
Main Sponsors:
TV Shizuoka, Citizens Group
Secondary Sponsors: ]Al, Honen Corp., Ezaki Glico
Location: Nagoya
Main Sponsor: Toyota Motors
Secondary Sponsor: Toyota Motors
:It
Verdy Kawasaki
"f :r. Jv'T 1 Jl l*tf
location: Kanagawa Prefecture
Main Sponsor: Yomiuri Newspapers
Secondary Sponsors: Coca-Cola japan,
McDonald's Japan
NT
m:ll.t:f!l
:;f 1' ~
IJ 7 /
Obawricm
OBATARIAN
obalarian(')
(j:
1:
11a
lion
km.-a::Jt 11i
memoru.
~ :./ -t iJ
Nikujaga
f'F IJ 1i
(J)
110 tsukuri-kata
memoru is a slang verb formed from the English word ..memo"+ the verb
ending -m. T he noun memo in Japanese usually refers to notes you take for
your own purposes rather 1han an informal letter sent to others. The proper
verb forms arc memo (o) sunt ("make a memo/note") or memo o tont (literally
''take memos/notes''), but memoru is used as a slang/colloquial equivalent.
11ikujaga is th in-sliced beef. potato chunks. and onions simmered in a soy and
sake broth.
Storekeeper: i
-?
t.:.
Mauaku
< ~ I<
l "' o
:t7:iisllii.
(imcrj.) braten/shamclcss/chccky
n'
i ~
Masaka
~tt
issatsu
.o .:: t
marugoto
~ -t
uts11su
7\
t: ~ .. .
ki
ja .. .
" Surel she doesn' t intend to copy out the whole book."
(PL2)
mauaku. literally meaning "completely/entirely: is often used as an exclamation/interjection of exasperation.
masaklt cmpha~iLes a statement of disbelief/incredulity. For this use. the sentence typically ends in a negative conjecture (nai daroldesllif). so that is the
ending implied here: ... janai dariJ = ..surely isn't/doesn't .....
satsu is the counter suffix for books. lssatsumarugow wsusu ("copy one book in
its entirety") i s a complete thought/sentence modifying ki ("intent/intention").
sa.wga11i
hrumph
sore
11'0
J: -) t!.
muri
da
to
(cmph.)
lj: 0
omotta
\'O da
na.
lhought/rcalit.ed il scc'mstappcars (colloq.)
11
\.. ,
she ...
quotative to marl..s sore 11'a muri da ("that is impossible") a~ the content of omotw.
the plain/abrupt past form of omou (..think/realize").
yo da after a verb means "it ~eemyappears" the action was done or will be done.
the colloquial panicle na expresse~ a kind of self-check/confirmation. like an
English tag. " (it is.) bn't it/(that appear~ to be the case.) doesn't it?"
:?"
Gii! (~ound
Sign:
::J
t'- I
Kopii
copy
f'i
IOfll
I /cllimai jlle11
I (cou nl )
10
Copies I 10 each
kopii, the katakana rendering of English "copy: almost always refers to a "photocopy." The verb form kopii .wru means "make a photocopy." Ursusu (above)
ca n also refer to photocopying. but when used in i solation is more likely to mean
"copy by hand...
-mai is the cou nter su ffix for
items like paper/tickets/records/COs/plates/etc.
nat
Ho11a Kal,uhiko. All righl' re~ervcd. First published in Japan in 1991 by Take Shobo. To kyo. Engli~h translalion righ1s arranged 1hrough Take Shobo.
52 Mangajin
Ellfl!W
Narration : ;;t ,, ?
7 /
1)
obatarian(s)
OBATARIAN
7" Jl,;;!.
r;t
wa
Obatarian
-r- iF.> 0
gumme
de aru.
as-for gounnet
isJare
Sign: 'J- A
Kyoro
Worcestershire Sauce
Sosu
1 'h
Ne,
1)
lkari
wa
nai
no?
Shinagire deshite.
(apology)
out of stock
is
Storekeeper: .:.t,l?
"t"
li
Kochira
de
wa
"'~'~r-r--t~'?
ikaga desu ka ?
how is it?
-r-
de
*-'Pl.
i4=1J
taihen
hyoban
'b J:
< .. .
mo yoku . . .
yo!
Uchi
wa mukashi kara
sosu
sauce
l;t
wa
1 'h
1)
lkari
from
c .. .
to . . .
"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
-t - Jv 't'
seru de
- ii "t" T ~ro
is
but
2~
Nihon
i? J: 1 t.!.l.o' o
clrodai.
~~AID&
by .:lz:.:rt~~:t:eB
Xtlh
Q]
I T achibanaya Kikutaro
O n Pa pe r: 7 7. ~
Test
Teswo
Beranmei Tochan
more
\tudy
<
-t'o
zo.
Ha-i.
ta
Kacha n: -? -:> I! I)
Yappari
after all
7')1
~~
-t:!
t.0-7
l)
.:t:..
A
ikasenai to dame
!>Uppl. classes to
ka nei?
? (colloq.)
must make go
"P-"11'~ -M
CJ/1
juku
I~
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.
<
f1 t.:
n 1LT-P1
t;, "' i"J'i"J'o i"J'!? Pll' o
Demo. rsuki ni iclziman gosen-en gurai kakaru kara nei.
Kacha n: ""C" b,
bUI
month per
Yl 5,000
about
costs
so
(colloq.)
soda i~ literally " it is so/that is right," but soda na (or nii) is another expression implying one is considering how to answer/respond.
;t L?
Benkyii dekinaklllatte
eraku11afla
' tudy
even if cannot
A
hiw
Boy:
,J -:> "(
to
.0 .:: i::
ifteru 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)
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
kohii
ga
nn.
ii
Beranmei Tochan
Oya.
zuibun
haikara
da
nei.
quite/very modern/Western is/are isn't it/aren' t you
oh
<1
JJ. ~it
-IJ~
b.-
c ~ Lf Lit' 1j: 7 o
ne to
sabishii
nii.
some how
Sound FX:
(PL2)
-v
~~ 7 ~~ 7
Paku pak11
Muslra muslra
Kachan:
~ tt
r.:. ~ 1'1:
Sore ja
l. o
tsukuru
yo.
Tochan: -J -lv ,
U-n,
~-?
1! I')
yappari
yes
asa
wa
misoshiru da
nii.
lochan: JJ. ~
rr
Misoshiru da to
miso soup if is/have
meslri mo
rice
kui-te
nii.
Kachan:
~ttl:.~ I.-'-?(>
Sore ja
l'ilt:. t!. J: o
itsumo to onaji da
yo.
is (emph.)
kui-te is a slang/dialect version of kui-tai, the "want to" form of kuu ("eat" masculine, informa l).
itte kimasu, the PL3 form of ille kuru, is the standard "goodbye" used by a
person leaving ho me for work, school, an errand , or some other outing.
I!:> 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
Student:
Kiisan.
shiue-ru?
mother/mom
know
Nyt7ton
SELECTED WORKS
of ISHII HISAICHI
11'(1
ewton
ten.wi
nan da
b o
ne.
\ '0
Student:
"? i
;tv
I)
Tsumari
JU
t:.
J: o
na 11 da
yo.
ore mo rensai
lv
what
Student:
=-
r :. -
::L -
li
Nyt7wn
a~-for
cwton
'J / ::!
J! -c
ringo
mite
(obj.)
di~covcrcd
9 I JJ
inryoku
gravity
wa
!v t!.
da
J: o
yo.
11
(explan.) (emph.)
ga
donai
(subj.) whatlho"
shiw
did
11
ra?
(e~pian.- ?)
Student: ;1-
Ore
ochita seiseki
'JUJ
jitsuryoku
z
o
n -c
mite
becau<;e.
Sound FX:
:f. -tJ
Poka
50 Mangajin
Fir-~
publi,hed in Japan in I 99 I by l'utnbu,ha. Tokyo. English translation rights arranged through Futabasha.
Girls:
t!. -
Yo
SELECTED WORKS
of ISHII HISAICHI
~
c -?
I lilv
dfi.
Honl(i!
.:f -t-!
Kyii!
disagreeable i'
truth
(squealf,crc:tm)
"Oh~ gro-o-oss!_LReall-y-y-y? I Eeek!" (PL2)
Sign:
;\A
Bas11
Bus
yo da is a contraction of iya da. meaning "'is disagreeable/unpleasant/embarrassing."" It'> colloquial u~cs arc many. including the equivalent of a schoolgirlish oh gross!'"
lrontij mean'> tmth."" but with the intonation of a question it becomes Is
that true?/Rcally?""
Man 1: C'.:.
Mllf~
(J)
110 ~eifukll
Doko
frt:t?
ka na?
i!i: <
~:
Kono chikaku ni
this
nearby
1J:.
(-,;~
joshikti
i;t?
na?
kke
Man: ttt:."S,
you-( plural)
"here of
\ChOOI
Girl:
t '<' J? IJ 1 -tt lv
ifii]ij~i
Seifuku
ja arimasen.
uniform
" not
j1lgonin -gtoui
de-su.
1\ A
Basu
Bus
nakayoshi means 'friends: implying a clo~e/intimate friendship: "great
friends/chum~/bosorn
buddies."
-nin is the counter suffix for people. so jfigonin means "IS per~ons/people.""
-gmni i~ from l..wni. which can refer to a wide variety of social groups as well
as to group'>/~cb of object\. Jilgonin-gumi ="IS-member group (of people)."
e l\hii Hisaichi. All right reserved. FiN pubh,hcd in Japan 111 1991 by Fuwba,ha. T okyo. Engh'h tran,Jation right' arranged through Fut:aba-.ha.
Mangajin 57
J - L eague
(continued from page 26)
before the first J-League game, generating such intense interest that
300,000 people applied for that game's 40,000 available scats.
Regional identity
SELECTED WORKS
of ISHII HISAICHI
Despite the hype and hucksterism, J-League teams are less strongly identified with their spon ors than most baseball teams. In forming the JLeague, Kawabuchi sought to change the image of soccer a a company
game by dropping references to the sponsor in the team names, using
only a reference to a city. That's the normal arrangement for American
professional teams, but it met with resistance in Japan, where most teams
have traditionally been defined by corporate rather than regional identity. Most of the twelve pro baseball teams, for example, do not include a
c ity or region in their team name. But Kawabuchi got his way: all JLeague team names include the home city rather than sponsors.
Surprisingly, not one team calls Tokyo home, although several are
based in outlying cities such as Kashima in lbaraki prefecture and Urawa
in Saitama prefecture. The J-League has avoided one of the central economic problems o f Japanese baseball: the Giants, the only team with
"Tokyo" on its unifonns, generates almost as many fans a. all the other
teams put together. This dominance leaves other teams with few fans,
and means that a series of victorie over the Giants can cause a nationwide dip in product sales for the winning team's spo nsor. Kawabuchi's
organization gives every J-League team a clear regional identity and a
strong base of local fans. To secure community roots and cultivate native
talent, J-League teams are required to support local youth soccer clubs.
This strategy of cultivating local fans seems to work, because they' re
coming in droves. Attendance in the first year averaged more than 18,000
per game. A real J-League enthusiast is not a mere fan": he or she is a
sapota(+r :- 7-, "supporter/booster''), a special breed found only in
J-League stadiums. Baseball ha fans, usua lly salarymen and OLs who
sit in shin sleeve and cheer in unison with megaphone-shaped noisemakers while their team is at bat. A really hard-core fan may wear a
team-color happi coat. J-League supporters are something else altogether.
In addition to the standard noisemaker-megaphone, their ar enal includes
a complete team uniform, a full-size team flag, and face paint in team
colors. Throughout a game, supporters chant, dance, and wave their flags
in unison. Their spectacle rivals the game, which is probably for the best
since it's unlikely that they ee much of the game through all the waving
flags.
<
58 Mangajin
*'fi
QJ
Boy:
~ufi
16!1
(!)
-IJ'C-:>,
yaue yam
kara
~"(:
Friend 1:
~ij:tJ11f~
(!)
sllgaku 110
:a:
mondai-slu7
"<"-:>'"((h~~'-IJ'?
yatte kurenoi ka?
" I'll do the homework for JaP-anese (class), so will vou do the worksheet for math?" (PL2)
~,~,,
-tfu
:e.
li
good/fine (emph.)
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.
I!ru.':
tx~
(!)
r..,m~
"<"7.>
for
kara,
1r1m
(!)
you
"<"-:>-r<tt~'-'-IJ'?
ya11e kurenai ka ?
" I ' ll do the math worksheet, so will you do the homework for Japanese?" (PL2)
Friend 2: OK.
Oke.
"Okay;' (PL2)
omae is a rough/masculine word for you...
"OK ," pronounced ei ther okU or like. can be con~idered a fully naturali7ed word in Japanese. and is most often wriuen this way in Roman
ga
Jeuer~
Uf<
(!)
llfllH!:tn
"<"7.:.
shakai
110
mo~rdai-slu7
yaru
kara.
omae.
will do
bccau~e/so
you
Jll'.H
1J'C-:>, HiX. ,
(!)
171M!
"<"-:>-r(hij:~'-IJ'~ o
" I' ll do_the worksheet for ocial studies, so wouldyou do the homework for science?" (PL2)
Friend 3: '-'"'
C. 'b o
li
101110.
good/fine (emph.)
ka lUI a ks a conjectural queMion. " I wonder if ... : \O making a reque~t u\ing kana can make the request
sound a lillie less abrupt: " I wonder if you wouldn't ... ?"
the panicle tomo is added to the end of sentence~ to wongly affinnlagrcc with what the other person has said
or asked.
Boy: :eR.fl
Rika
(!)
nl~
110 shukudai
"<"7.>
yam
-IJ'C-:>, HiX.,
kara.
omae.
H~
slwkai
:a: o
o.
" I'll do the homework for science, so 6 ''ill) you (do) s_ocial studies?" (PL2)
Sound FX: ;f. 71
Poka
Hisaichi, All righls reserved. First published in Japan in 1991 by Futub~"ha. Tokyo. Engli~h tran,lation rights arranged through Futabasha.
Mangajin 59
J-League
I'I'M~fiOJUI,IItJ~
ster = {Hit. ;I / l ' i - torokumenbli burly= IJC-;, L I) Lt.: s .asshiri-shita fixture = ii-L.Ii9 ;I / ; {- clulshin-reki 1//C'IIbii scraggly= 'EC
'~>. t.: "(> 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
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.
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
7"/:l /).
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:
-ell)
~ ...
~~
sono
yiishi
o...
that's/his bold/heroic figure (obj.)
Narration: -
~J.,
t:.)
1:
~11')
...
hitome
miru tame ni atsumari . ..
one eye/look see purpose for
gather
.
..
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:
IT)
7 1 - Jll )-:
1: . . .
110
fiirudo
ni ...
a sa
morning in/during field
on
o n the morning field ...
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
kakete-ita.
a no hito
ga
that person (subj.) was running
that person was dashing about.
.
.
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
7;,
l!o ~
1 t::
64 Mangajin
n~
"")"?A,
~~ ~~
"/)\
1-
~ ~ -r
s; -c: "")
t: t~
-tf
::.-
[~]
1\
hii
1\
hii
1\
~-
t-! Shoot!
lui
~----------------------~--------~----~--------------------------------------~
Tos hi: ~ - ,
fD!t!
Kenji is the name of the player in the first panel, who is playing
goalie; Kazuhiro is the name of the player with the glasses.
oi! is a relatively abrupt/rough way to get someone's attention.
miro is the abrupt command form of miru (''see/look at"). The emphatic particle yo is often added to the abrupt command form; it
adds a friendly kind of emphasis, so it actually makes the command
seem not quite so rough.
Kenji!
Kazuhiro.1
(given name) (given name)
" Kenii! Kazuhiro!"
Nitta:
Nitta:
1Ht'fi
t.:.
f.litt
(J)
-IT ;t 7J - 'B'II
1!o
Kakesho Koki5
no
sakkii-bu
da ze.
(name) high school of soccer club/team is (emph.)
" It's the soccer team from Kakesho Hie:h." (PL2)
are means "that" when referring to something that is not close to either the speaker or tlie lislener: "that over there."
nanka is a colloquial nado ("something/things like"), here used in place of wa to mark the topic.
dokka is a colloquial dokoka ("somewhere"). Kurabu, from English "club," refers here to some kind of professional,
semi-professional, or corporate soccer team.
sukatllo-man is from English "scout" and "man"; sukauto can also be used by ilself for the same meaning.
Nitta:
~3-,
T~f.:c.
lj:;i; o
Nitta:
1*
Sound FX:
-If ;t
Za! (abrupt scraping sound of shoes on ground as he comes to a halt)
Sasaki:
tiT El3 ,
3<:1t t!. o
Nitta,
kotai da.
(surname) shift/relay/substitution
"Substitution, Nitta."
"Yill!_go in for m e, Nitta." (PL2)
Nitta:
.to, .to ) o
0- {f.
y- yes/sure
" R- rightt!" (PL2)
Mangajin 65
::, .:t -
--------------------------------
t-1 Shoot!
---------------------------------
@
?
~B if~
"'" *~;
"'?
"'t:."
"})
1
!
66 Mangajin
i;~'
~ ~-
t-! Shoot!
*'
aite basically means "counte rpart" and can re fer to persons ranging from
a "companion/mate/partner" to a '' rival/opponent/enemy." Aite ni nannif
is a contraction of aite ni naranai, negati ve form of aite ni naru, literally
" become a counterpart." In an athletic contest, aite ni naranai means
one side "can't compete with/ is no match for" the other.
Toshi: 1:4
Sasaki! (player's surname )
SoundFX:
I\ 7 I \ 7 I \ 7 I \ 7
Ha hli ha ha
(effec t of heavy breathing)
~=f.
Sasaki: f!_ ~ f!_ o i 0 "t"
Dame da. Maru-de
aite
ni nannif
yo.
no good is completely opponent/competition to not become (emph.)
" It's no good. W e ' re comple tely unable to become competition.''
" It's no good. We're comP-letely outmatched." (PL2)
Sasaki:
ill!=
tJ{
::t-;v
~(!)1:,
l .o:
A. hl? h t t -?
b .. .
Kenji
ga
mamotte-ru
goru
na-noni,
banban
ten
irerarechimau
wa . . .
(given name) (subj.) is guarding/tending goal even though it is (relentless FX) points get scored on-(regret) (emph.)
"Even though it' s a goal tended by Ke nji, we' re getting scored o n re lentlessly, and . .."
''Even with Kenii tending goal. we' re ge tting scored on right and le ft, and . .." (PL2)
mamotte-(i)ru is from mamoru ("guard," or in the context of a soccer goal, "tend'').
ten= "points," and ten (o) ireru (literally "put in points") means "score points," or simply "score."
irerarechimau is a contraction of irerarete shimau, the passive -te form of ireru (''put in/score" ) plus the shimau
ending that shows the action is regrettable/undesirable, so it means "be/get scored o n.''
the usually feminine particle wa is added for emphasis, and the statement continues on in the ne xt frame to anothe r
embedded sentence ending in wa. The use of wa like this at the end o f parallel embedded sentences, typically describing details of a larger action, is heard among both men and women and does not sound particularly feminine.
@]
Sasaki:
~m
!i
;~-o;~-o
t:." -tfo
1." (PL2)
kore ja is literally " if it is this," meaning " at this rate/under these circumstances."
daue is a colloquial de mo ("even if it is").
katenai is the negative potential ("cannot") form of katsu ("win").
nja nif ka is a masculine/slang corruption of n j a nai ka, which is literally a question, " isn't it the situation that ... ?";
but the question is rhetorical, making it essentially a conjectural statement: "probably isn't/doesn't/can' t . .."
Kubo:
c IJ*"'
Nitta: -) :b-::> !
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
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)
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)
-/)t ill ~
Hiramats11
ga
oits11ita!
(""catch up"").
(surname) (>ubj.)
caught up
"Hira matsu 's caught him !" (PL2)
Kazuhiro: /rl!t
li
Mlil.!.:
t~-IJ'it'-'
mrka~em
i>A.
I
n'!
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)
verb
makes an expression like no way
will I ... /by no means will I .. .''
(See Basic Japanese No. 36)
:: ~ ' !!
Koi!
come
'Come on!" (PL2)
(B
Kazuhiro: .1:'1'-.U
fl)
!VJJtt 1.: :'.3h~il.t':,'(>i.'ltf..:~'o
(thinking) Jiilw111ilin no ugoJ..i ni madauasarec/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 ua. The pa11ern -te ua ikenai make~ the "muM not- form of verbs, so madowasarete rva
ikenai =""must not be confused/mi'iled/fooled...
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''
@]
FX:
71
K11i
@]
Mangajin 69
~ .:1 - ,.
L I
$ hoot!
aj:f
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.)
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").
Lt ti?!
!lllJ:t
Jiku-ashi \VQ migi?!
pivot foot as-for right
m.::E c
-/;{
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.
t_t l
da!
is
area
Nitta:
< -? !
Ku!
(exertion sound in back o f throat)
chigau.
different
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
;X-1f7
Zuzii
(sound of sliding on ground)
Suraidingu
sliding
.
Toshi:
:; 7 )!..-
t! '!
takkuru
da!
tackle
is
Sasuga
-fV') ~ ~ ...
tDit!
Kazuhiro!
.
.
Iru!
(effect of Kubo tapping the ball gently from below to raise it s lightly off the gro und)
(obj.)
made noal
Sound FX: 7f :;
Ga!
(effect of Kazuhiro's foot s triking the unde rside of the ball)
Inter v iew
(cowinuedfrom page 35)
I'BJ
~)l'
Mangajin 73
,
/~
r Shoot!
c
1'
.A ..r'\' !;t
t o '/ ~
::..--7
!?
74 Mangajin
Yalta!
did
(surname) (>ubj.)
cleared
@J
Kazuhiro:
(!)
7d ~ lv
tJ~
Ba- baka-na!
Ano
Kubo-san
ga
konna
f.. foolish/crazy
1 {,
1\71
t:.:!
~ I? ... ?!
assari ... ?
easily
Kenji: -T 1 A
fiJJt!
Naisu Ka:.ulriro!
nice
(given name)
lwdaki!
will receive
Kenji: .Z?!
?!
"Huh?" (PL2)
Sound FX: .::f .:z. Jt.- Jl- JlGyu ru rum
Sound FX: A -
"I
Sii!
;\ :;'/A~/?!
Na!
Bakku supin?!
wha?
backspin
"Ai!" (PL2)
Ira' is an interjection of sudden awareness.
Sound F X: ;\:;
Ba!
Mangajin 75
76 Manga~m
~~-t-I Shoot!
Sound FX: A
Su!
A".,
Supa!
J - L eague
(crmtint~ed.li"fllll flllge
60)
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-
-"'-
J.LEhGUE
) -League on Internet
For those with access to the World Wide Web, information on )-League teams can be found at the
following URL (Uniform Resource Locator):
.l
groom i!lg = lJ t:. L. ~h. mida.vltillllllli 'how ~ome nair,: rfli r'! h.':!: !! -It 7., ~ T ~{.: lit 7., (111111\l~romi Ollli.\1'!"" kyakll 0 yoro~ubosem anl~cs = t.:_b
(dt/ ,,, tEo It lllll'tllllltrdfu:;ake demure = r.'i X. /1) ~~ tl';?' lukol'me/mmlfHiu~llktl moh;lw ~' = IJ..: <7) "[<7)-t:: :f.- '7 ){lj I) kamt 110 ke 110 molwkll gort
flamboyant = li ~ l.f'-: L ~ 1 luuwbouo.1itii looming que,tion = k. ~ <f~ t,.JJ!h j l f.: \'tl111 "4i~uuwltiarmmrew !(imrm
Mangajin 77
~ .::z.
78 Mangajin
1- 1 Shoo t!
:,
liQ
Sound FX:
~ -
I-I Shoot!
;\-lj-
Pasa
@J
Hii hii
(heavy breathing)
7
hii
(heavy breathing)
Hii
Pol<n
"Incredible!" (PL2)
@J
Sound FX: 1- /
Ton
Ej
Kazuhiro:
;J{-
iv 1:-
Bam
ball
i-fil'-tt -r
ukasere
I h,
I
~J ~ t :t v ~.:
1m- H'a:aro
ore
11i
10
11
da.
(e~plan.)
" He made the ball float/lift up. and purposely made me kick a spinball.''
" He deliberat~ rai ed the ball ofT the_ground so my kick would put spin on the baill" (PL2)
ukasere is the -re fonn of ukaseru. the cau~ative make/let"" fonn of uku ('"fl oat/lift up'' into the air). The-re
form is being used like a conjunction: "make/made float and ..."The tense of a -te form verb is determined
by the end of the clause/sentence.
kerasera b the past form of keraseru. the causative form of keru ("kick"). Ni marks the person who does the
action of the causative verb. so o re ni . .. l..eraseta =made me kick.'"
he use\ the explanatory ending, da because he has figured out the explanation for what happened.
Mangajin 79
Part II
by
-~~
Saigan Ryohei
:=:
Yilyake no Uta is the title of a collection o f manga from the larger work T Fl (f) /y R
(Sanchome 110 Y7hi, " Evening Sun Over Sanchome"), a series that has been running in
Big Comic Original since 1974 and continues to run today. Through detailed drawings
and carefully conceived dialog, author Saigan Ryo hei lovingly portrays the everyday lives of everyday people in Japan in the late 1950s and early 1960s.
Although there are some regular characters who appear throughout the series,
mo 1 o f the stories are self-contained episodes.
In the episode begun in Mangaji11 o. 38 and continued here. Saigan gives
us a close-up look at the world of the movies in the early 1960s. All of the actors
and movie titles cited are real. For the translated titles of films, we have consulted Japan. by Arne Svensson (Screen Series, Peter Cowie, ed., A. Zwemmer
Limited. London/A.S. Barnes & Co. New York, 197 1), as well a~ some additional reference materials. Where we weren't able to locate origina l English
titles or offic ial translations of Japanese titles, we have provided a litera l re nde ring of the Japanese.
A Word About the Title:
The kanji .i1' is actually read shi, and means ''poem/poetry." Herefurigana is
provided to give an alternative reading. wa (-? f.:.). which can refer to either a
song or poem. "Sunset Song'' eems a fitting translation for Yilyake 110 Uta,
since "song,'' like uta, can refer to e ither verse or musical compositions.
P.li!OOiO)t!t~ (Eiga no Sekai, "The World of the Movies"), Part II:
In Part I of Eiga no Sekai, lppei is running out the door with his older brother, Roku, to
the Sunset Cinema ((>'I I .:\'- .::f, 7, Yilhi Kinema). while the boys' parents marvel at the
frequency with which the two of them have been attending movies lately. Indeed. the
entire episode has lppei and Roku at the Sunset Cinema, seeing anything and everything
the theater has to offer-from gangster film to monster movies to Walt Disney. lppei is
clearly a hard-core movie fan. undaunted by the fact that the film has a tendency to break
halfway through the show. and that throngs of viewers make it hard for a little boy to see.
He is delighted to have found the perfect chaperone in Roku. And Roku's motivation? In
Part II, we learn the truth behind his sudden love for the movies.
!!:> 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 .. .
11a
W lppei:
" Kendama ni Teo Dasu na" ntmte hen-1w
eiga da 11e.
(I]
[I]
FX:
Zoro :.oro Zoro ::.oro
lppei:
Ni!. mae kara kuru hito mi111U1 koll'ai kao
shite-1'11 yo.
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.
Sunset Cinema
Billboard:
Han::.ai-o Kapone
CeiiiiG/1/a
ni Te o Dasu 110
Mangajin 81
GJ
~ 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 ~:
[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
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:
8J
t.:il!t..~
~A..<:tllit
'"?j't!
"(
/~
. I
i;
...t <
"(
lp_nei:
~ li!Jill:
" If we' re going shopping. it' okay. I Let's
go, let's go."
" If we're going s hopping, I'll s kip it. I
Le t's go, let's go." (PL2)
Mothe r:
(off panel)
(PL3)
Che-f
m~:
(thinking)
[II
!I!~:
"Shecsh, because it's like this when I come with lppei (it's exasperating)!''
"Sheesh . It's always like this whe n I come with Ippei!" (P L2)
ya da is a contraction of iya da. meaning "is disagreeable/unpleasant"- an
Mangajin 83
$'titt0)6~
OJ
YOyake no Uta
W Friend:
Omoshirokatta eiga wane lyappa ri
Cojira no gyakuslu7" sa.
W Ippei:
"Kai}t7 Baran" "Marango" mo yokaua yo.
Boys:
Gaikoku no de wa "Ama::.on
ga kowakatw 11li.
110
Hangyojin"
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."
~ Friend:
He-! Riuai eiga da tte sa.
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
~
f uroku refers to " supplements/inserts" that are sometimes inc luded with
magazines -
"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."
lumwi ="reversed/backwards"
@]
Sound FX:
Wii'!
Kyli!
Yikes! Aaack!
Sigrl:
Kin 'en
No Smoking
IJ!~ei:
J'icket La dy:
Arigat{i gozaimashita.
86 Mangajin
~ 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
(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
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'
L~ .f'
~tl.
?Ul J:.l
t:~*
t: '
~ i\
~ ~
()f.
.f~
t/)
-c
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)
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
someones 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)
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(-/no) 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.
nokin ="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.
=- /
=-
Haibara passes the phone to his skilful supervisor, Kuwata, who learns that
Takahashi needs a loan of3 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.
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<Mil
90 Mangajin
T -/;{
~ [] ~ !v o
h. :::.:
Kuwata-san.
Migoto
Kuwata: tl i"
-c b
~fHr
!v -? 'Z" o
to nattara
ginkif demo
kitanai
mon
shire mo
ya de.
Kuwata: B <ji:
Nilwn 1va
mitsukaranandara nani
Japan as-for
if not seen/caught
kamahen
kuni
ya.
is
"Japan is a country where it doesn't matter what you do if you don't get caugh t."
".l!man is a country wher e you can do anything you want so long as you don' t get caught" (PL2-K)
Kuwata: ~t.f 1?
':
t:t 1)
Kanemochi ni
weathy
.Z
nari sae
T h If T ~ -c
-/;{
~t- ~ h 6
sureba
ga
yurusareru.
to become (emph.)
subete
" I f you just become wealthy. all is permitted.'' -+ " As lon~ou have money, anythin~" (PL2)
Kuwata: '7~ .
4Jifl
Washi. maitsuki
1/me
every month
~1?/vc
T--::J
%:M
ffiffr: Lcl.:>
!v
-? 't'o
teiki
yokin
ya
regularly
IOHfll
100.000
shitoru
de.
" (Believe it or not,) I a lways deP-osit 100,000 in time savings every month." (PL2-K)
washi is a word for "Ume" used mostly by middle-aged and older men. Wa, to mark washi as the topic of the sentence,
has been o mitted - as is often done in colloquial speech.
kichinto is an adverb with a range of meanings. all essentially implying that the action is done the way it should ideally/
properly be done: "neatly/thoroughly/precisely/regu larly/punctually/etc."
shitoru is a contraction of shire-om. equivalent to shire-iru, the progressive ("is/are -ing'') form of suru ("do"). Suru after
a noun associated with an action turns the noun into a verb, so teiki yokin suru ="make a time deposit."
n is a contraction o f ex planatory no.
the emphatic de. like standard Japanese yo and ze, is often used when the speaker volunteers information only he knows.
The feeling can range from "For your information/!' II have you know ..." to "You may not be aware, but . .." to " Believe it or not . . ...
r do ya is dialect for do da, "what/how is it?"- in
this case meaning "what do you think?/how does
Kuwata: c '\-'?
fi:)'~
'\-' 7:>?
that grab you?"
Do ya?
lgai
yaro?
what/how is unexpected/surprising isn't it
yaro is dialect for the conjectural dan), here being
" What do you think? I bet yo u' re surP-rised." (PL2-K)
used as a question. "isn't it?" lgai yaro = "Surprising, isn't it' '-> " You' re surprised, aren't you?"
Haibara: !~{
L i Lt..: o
kanshin is a noun referring to feelings of ''admiraKanshin shinwshita.
tion," and kanshin suru is its verb form, "admire/
admiration
did
be struck with admiration/be impressed.''
"I'm imJ!ressed." (PL3)
Shimashita is the PL3 past form of suru.
Kuwata:
~\'f*
~:tUL:i"J.:>
Jl!f
toki
fgffl
1: fo:J.,
!v
-? "Co
shinyo ni naru
ya
de.
" In the future, when I go independent, this becomes trust in facing the banks."
" ln the future when I strike out on mv own this will be the basis for credit in mv dealin2s with ba nks."
(PL2)
roki = "time," but direct ly after a verb, it means 'when (the action takes/took place)."
taisuru basically means "face/be on opposite sides." and ni marks the object faced. Cinko ni taisuru ="(in) facing the
bank(s)"-> "in ( my) dealings with the bank(s)."
(continued on following page)
Mangajin 91
92 Mangajin
-~~-----------------------------------
Kuwata:
ttz
" Poverty is for the birds. Poor peotllf.get trampled all over and thev stilJ have to obev the laws!"
(PL2-K)
ya nai is Kansai dialect for ja nai ("is not").
BinbiJ wa suru mo11(o) ya nai is litera lly "poverty
is not a thing to do." implying ' 'poverty is to be
Vrrrroom (sound of car engine)
avoided/shunned'' --> "poverty is for the birds."
J\:; c:.
.J. :, it-::> --c qT
i1'o
fuminijirarere is the passive -re form of
Saki ni meslzi
kuue iku ka.
jiuninijiru ("trample on"). The -re form acts like
first
meal
eat-and-go (?)
a conjunctive "and.'' and shikamo adds the em" Let's have a bite to eat on the way." (PL2)
phatic feeling of "moreover/still."
shiwgawana akcm is a Kansai dialect contraction of shiwga11anakereba ikenai, a "must/have to" form of shitagau
("follow/obey/adhere to").
no ''a is d ialect for the explanato ry 110 da (like "it is the case that . .." ).
saki-ni modifies a verb to mean "(do the action) first/before (someone/something else).''
meshi ="rice/meal," and kuue is the -te form of kuu, 'eat": both words are informal and mostly masculine, as is the
combinationmeshi (o) kuu ("eat a meal'').
iku ("go") after the -te form of another verb implies "do the action and (then) go": it' s often used for actions done on
the way somewhere. The question indicated by ka is mostly rhetorical.
Sound FX: 7-
'J
Bii1
Kuwata:
<
Haibara: 5 T~ P:J
Gosen-en no clzt7shoku nante lzajimere desu.
(=o)
lunch
(quote) lirst time
is
" As for a 5,000 lunch, this is (my) first time."
5.000
Kuwata: t..:i!.::.
Sound FX:
Haibar:_a:
-r--t
@]
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 (")
go:aimasltita.
Mangajin 93
94 Mangajin
;-=
'7~Mlli
Haibara:
~ "? ~
Sakki
'Jt:. }j
Jenpii
(J)
I TJ PL
no ichiman-en.
Naniwa Kin'yOdo
i:> ~
o-kane
t {'
"t' T 1r'?
desu ka?
(PL3)
lvn'o
Mitolla
n ka.
(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").
n', -t- lv ~
desu ka,
all righll.,afc
is it?
SOIIIIG
::. C. L "'C
koru shite.
to do
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"
,j "?t.:
iua
'>31d
-?1::> "
yaro.
right?/didn't I'!
"A while ago, I sajd ' Anything goes so long as you d<!!L.t.W caught/ right?"
~ it, R. t h o
Mii.
(intcrj.)
( PL2)
mirore.
watch
T""-"C
(PL2)
vitation or request it can be like "please'': in the case of a command like thi~. it can be thought of simply as softening the abruptness.
mirore is a contraction of mire-ore. the abrupt command form of mire-om . equivalent to mire-im ("be watching'').
frommim ("see/watch"). The abrupt command form of' mire-inc is mire-iro (or mite-ro when contracted).
Mangajin 95
lfl !li O : : : . ~ 4.
'f
~.:-t
L.
A, '/)1 A,
"L"t':i.~
f,t
~ "'
96 Mangajin
A,
..
i',
~~
-r <it~
kite kureru
= iiliii
'7
Naniwa Kin'yiido
(J) 1J'
no ka
lv
-? "t' !!
11
ya
de!
" We were sla rtillg_!Q_worrv whether vou would reallv come." (PL3)
Kuwala: T lv 1 A.../v o ~:(
"IJ( X.l:l-? .: lv "t' i L. -r lj:- o
Suwnahen.
Kuruma
ga
ero
konde-mashite
11ii.
(colloq.)
Takahashi: 3671
Sanjtlrokumtm no
360.000
tegata
jllmai
10 (count)
prepared ahead
aratamete kudasai.
f Jf~
Yakusoku Teg(l(a
Promissory Note
Kuwata:
?/ ,
Un.
kore de
uh-huh
kekM.
v't.:t!~ i T o
Ti(li"IJ't:
Ta~'hika
ni
iradakimasu.
receive
"Uh-huh, these wiU be fine. I have indeed received (the required notes ." (PL3)
tashika = "~ure/cenai n." and tashika ni = "cenainly/definitely/assuredly"
itadakimasu is the PL3 form of itadaku ("receive").
Takahashi:
;f; -T ,
"indeed."
300h
~*~~~
Sono mae ni keimkusho to
Kuwata: -f(J)Jitrt:
before lhal
contracl
~1T:~k
ininjii
ni
sain
shite kudasai.
please do
To be continued . . .
Mangajin 97
VocabularySummary
mra1
i!Ii"
~~*iti"~
~ b "tv'c
ima
ka esu
m oyogae suru
s amonai to
-+t ;; tJ-
s akkii
sawaru
te
tsumori
ude
~b~
.f.
-::> {> IJ
~
soccer
touch ( 1.)
hand
intention
arm
7 ') i" ~
~ ~ h-It
T':t-T a? lf~
"-1-vft
- lliit
~'<
i"
/JJi
3c$
ill l "'
i3c"tlv'
bikkuri Sltrll
bukimina
d e tchioge ru
hen-no
isshun
kakusu
koo
kiji
muzukashii
oto noshii
be startled/surpri sed
weird/eerie
make up/fabricate/invent
strange/odd
an instant/a moment
hide/conceal
face (11.)
article/report
difficult
gentle/quiet
From Obatarian, ~
7' Jv,;.
t-ii
M''I'IJ
::J \! i ~.:.e:
,1. -'-~
-tt
El
J.,. ')
1J]tt
#f~
)(~
f~
IJ /5
~i"
~4
Lv'
gurume
hongaku
hy obon
kopii sum
marugoto
memoru
mukoshi
muri
s hinogire
s hinseihin
taihen
tsukuri-kata
lltSIISU
::.t7::.t7shii
gourmet
half price
reputation/popularity
make a photocopy
wholly/entirely
take notes/make a memo
long ago
impossible
out of stock
new product
very
how to make/recipe
copy (by hand)/photocopy (v.)
brazen/shameless/cheeky
,, 1 tJ 7
&~t
h.-f it
~lfLv'
"fv'~l-v
e rai
ltaikara
ltantai
misosltiru
s abisltii
wibtw
eminent/important {person)
modern/ Western
opposi te/backwards
miso soup
lonely
quite/very
i!i:<
-MI.
~H! i" ~
~ 11J
~tJ
fr:f-~
ooaa
r..,i\1!~
ftp J: L
chikoku
-gumi
hokken suru
inryoku
jitsuryoku
j oshiko
kokugo
mondai shtl
nakayoshi
nearby
group/band/gang
discover
gravity
true abi lity
girls' high school
Japanese/language arts
workbook/worksheet
friends/chums/bo om buddies
rtr t, ~
och i ru
rika
rin go
seifuk u
seiseki
slwka i
sl111kuda i
stlgo k u
tens a i
J'II!H
') / -::i
aiiJRF1
1~1
t:2;>
~~m
fJ.lf:.
x:;t
fall/drop {1.)
science
apple
uniform (11.)
(school ) grade(~)/mark(s)
society/social studies
homework
math
ge niu ~
From Shoot!, p. 61
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hi::.a
joho ns h in
koke ru
kanta11 11i
katSII
k e ru
kube ts u
madOIVa.VI/
mamo ru
m o ru -de
llllkll
oirsuku
s akkclbu
seito
ttkll
wa zato
morning practice
gather/collect
school
knee
upper body
run/dash/gallop
easily
win
kick (1. )
distinction
con fu se/pcrplex/mi slead
guard/tend
completely
pass/outrun/ go past
catch up
soccer club/team
student(s)
(something) float~
purposely/ intentionaII y
i!t~im
gaikotstt
gya11g11 e iga
hisom e ru
kin odoku
k o wo i
m eate
Minami Taihe iyii
mis h in
ningyiJgeki
omoc//(/
sanj igen
serolu m
renne n sltoku
tobidasu
tsukare ru
uso
UtSUS/1
."abure ru
y ameru
y fie nc hi
"fl?i"
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p~
skeleton
gangster movie
vanish/disappear
pitiful/poor/sad
scary/ frightening
purposc/ai m
the South Pacific (ocean)
sewing machine
puppet ~ how
toy
three dimensional
cellophane
natural/full color
jump/leap out
become ti red
lie/ fal'>ehood
show/project (an image)
be broken/shallered
quit/resign
amusement park
shift/slide sideways
~tf:~R
-L~~i"~
/dltt~
become independent
power of attorney
worry/be concerned
deliver
Tile Vocabulary Summary is taken from material appearing in tl1is issue of MMIGAJ/N. It's 1101 always possible to give the complete
range of meanings f o r a word in this limited space. so our "definitions .. are based on the usage of the word in a particular slot')'.
100 Mangajin