j, Ifif}] iliJ I mm:mm AI: Jtp11'1 Stew M11l1 950 P3 >' adapt Obatarians take notes instead of buying the_bJ)Ok.(PL2) In Book: :./-t iJ(J)f'FIJ 1i Nikujaga110tsukuri-kata meatofmaking mel hod ReciP-efor Nikujaga kawa:uni is a classical Japaneseform equivalent to kawanaide. the negative -te form of kau("'buy").Averbin the-:u ni or -naide formfollowedbyanother verb impl ies "do the action wi thout/instead of doi ng thefirst action." memoru is a slang verb formed fromthe Engl ish word .. memo"+ theverb ending -m. The noun memo in Japanese usually refersto notes you takefor your own purposes rather 1han aninformal l ettersent toothers. The proper verb forms arc memo (o) sunt ("make a memo/note") or memo otont (literall y ''take memos/notes''), but memoru is used asa slang/colloqui al equival ent. 11ikujaga is thi n-sliced beef. potato chunks.and onions simmeredin a soy and sake broth. 0Storekeeper:i-? t.:.< Ii::!!12591 "' i:::Z!?< tj: ttt.l "'-t' o Mottobenkri5slzinei toerakunareneizo. more\tudyif don't doimponant can't become (masc. emph.) " If you don' t studyharder (PL2) Boy:!i- lt' o Ha-i."Oka."(PL2) benl..yiJ shinei = benkyiJ slzinai. the negative of benk)ii suru ("study"). erakuisthe adverb form of erai ("eminent/important [person]"), and narenei = narenai ("'can't become"), the negative potential ("can/able to") form of naru ("become"). Kachan:-? -:>I!I)ta Yapparijukueikasenai to damekanei? after all!>Uppl.classestomust make go?(colloq.) "After all, mustwe send him to a juku, do you think?" --+"May_!>ewereally ouht tosend him t o a'uku." (PL2) juku refers to a wide variety of after-school andweekend academies that Japa-nese school children attend to supplement their studies. TOchan:1lv ,i" 1t.:-r o U-n.siJdanii. " Hmm, Iwondcrr..''(PL2) Kachan:""C"b,f1t.: n 1LT-P1 Tachibanaya Kikutarll, All rights reserved. First published in Japanin1991 by Take Shobo. Tokyo.English translation rights arranged through Take ShobO. Mangajin55 0 Ishii Hisaichi Senshu SELECTED WORKS of ISHII HISAICHI 0 Student: Mother: Student: Kiisan.shiue-ru? mother/momknow "Mom, do youknow?" " Mom, x_ou know what?"(PL2) =- ::L- r /lilv t:.J:b o 11'(1ten.winan da\ '0ne.Nyt7ton ewtonas-forgcniu'(explan.-is)(en1ph.)(colloq.) "Newton was agenius, right?"(PL2) X..? '! " Huh?"(PL2) "? iI);tv JU lv t:.J: o Tsumarioremorensaina 11 dayo. i.e./that meanslimeal'ogcniu;(explan.-is)(cmph.) "So that means I' m a geni ustoo."(PL2) Mother: lv(J).: c-t-' '! Nannokotoranen ? whatofthing'is(cmph.) "What arexou talking about'?"(PL2-K) ts11mari = "that is to say/in other words/i.e." ore i'> arough/masculi neword for "1/me." ya 1U!nh adialect equivalent of da yo ("is/are+ emph.). but ya nen i\ more free I)used by female speakers than da yo is.For both da yo and ya nen. intonation makesthe difference between a statement and aquestion. Student:=- ::L- r :..- li{frt:, t.:.'J/::!zJ! -c Nyt7wnwaochitaringoomite cwtonfallen/fal lingapple(obj.)sec/saw-and 9 I JJz L..t.:.!v t!.J: o inryokuolwkken 11 dayo. gravity(obj.)(explan.)(emph.) "Newton saw a falli ng apple and discovered grav-ity."(PL2) Mother:i- il-!Jt Soregadonaishiw11 ra? that(subj.)whatlho"did ?) "So what?"(PL2-K) ochiw is the plain/abrupt past form of ochiru ("fall/drop''). Ochiraringo can refer either toan apple already on theground or o ne that is stillfalling. since,inthe Iauer case, theapple " hasfal len'' fromthetree as soon as it leaves thebranch. mire bthe-reformof miru ("'see/observe"). The tense of the-te form of a verb isdetermined by theend of the clause/sentence. ("gravity") is wrillenwithkanjimeaning "pull"and "strength." flaaen .1flirais thepast form of lwkken sun1 ("discover''). fromflakken ("discovery"). dmwi dialect for diJ ("whaVhow"), donai Jfliw = diJ sflira (shiraisthe pa\t form of sum. "do"). Sore ga del shira ban expression equi valent to "so that got todo with it?" ya typically replaces da in Kansai speech. questions with ya isvery common among female speakers inKansai. but askingquestionswith da in 'tandard Japanese can sound abit rough andismostly masculine. Student:;1- vli'ifi. t:, t.:.loczn -c Ore11aochitaseisekiomite limeas-forfallengrades(obj.) sec/saw-and 'JUJz1L..t.:.-lr 0 o jitsuryokuohakken shirakara. true abilities(obj.)disCO\Crcdbecaucolloquial arc many. including the equivalent of a school-girlish oh gross!'" lrontij mean'> tmth."" but with the intonation of a question it becomes Is that true?/Rcally?"" Man1:C'.:.(J) frt:t? Doko110 ka na? v.hereofuniformI wonder " Whatchool wouldthose uniforms be forI won-der?"(PL2)--Man 2:.:. (J)i!i: t:.-:> Iti;t? Konochikakunijoshiktialiakkena? thisnearby:ttgirls"high school exis1ed(recoil.)(colloq.) " Was there a girls' schoolnearhere'?"(PL2) doko 110wij11l.u is literally uniforms of where: meaning "uniforms from/ for what \chool... kanaa conjectural1wonder where/what/how/etc." kono (""this") modifies chikaku. a noun referring to the vicinity/area nearby."" so ktmo chikaku ='"this vicinity/near here: joshi ='"girl(s)/femal c(s)."" and -kO refers to 1.":j kUkO.or more fully. t:i -:f:f;( kotii 8llkkii: high schoor - joshikri ="girls' high school." alia is the past form of aru ("exist/be in a place). and kkean ef-fon to recall something that''>vague in the '>peal..er"smemory.He's trying to recall whether he has heard of there being a !.Choolin the vicinity. Man:ttt:."S,c.:.(J)'(:t;(? Kimi-tachi.dokonogaJ..I.ti? you-( plural)"hereof\ChOOI "You girl ,what school are_E)u from?"(PL2) Gi rls:l;i" Ha ? " Excuse me?"(PL3) kimi an informal/masculine word for you: used topcr,ons ofequal or lower \OCial Matus. -Tachi makes it plural "you people/guys/girls." ha spol-en with therising intonation of a queM ion is a polite "What's that?/ Excuse meTwhenyou didn'tclearly what was said. Girl: t',HiX.,:a: o Rika110shukudaiyamkara.omae.slwkaio. scienceforhomeworkwill do bccau,e/soyou'ociat 'tudie;(obj.) " I'll do the homework for science, so 6''ill)you (do) s_ocial studies?"(PL2) Sound FX:;f. 71 Poka Thonk(effect of rap on head) Hisaichi, All righls reserved.First publishedin Japan in1991by Tokyo. tran,lationrights arranged through Futabasha. Mangajin59 J-League (continued from page 58)starsof Japanese soccer andwas amember of the Japanese teamwhich foughtunsuccessfull yfor aGamba Osaka.Gamba isthe Italian word for leg, and sounds like the Japanese verb ganbaru, mean-ingtofighthardorpersevere.Thederi vati ves ganbatte and ganbare aretraditionalsports cheers. The Osaka club also considered the name Osaka JOzu :J 3-.A\ or Osaka Jaws, which soundslike the Japanese wordjozu _t.f-,meaningskill ful.The Osaka group clearly did itshomework on multi-lin-gualword play. \berthinthi s year's World Cup tournament. With thenewpopularityof theJ-League.Ramoshas r many endorsements, and is a common sight on Japa-' ; 1 ...-:;nese television. IIJOver hi s long career. Ramos has set deep roots in Japanese sports culture, except ionall y deep for afor-eign-born athlete. His career stands in contrast to that ]-League stopwatch of anothergreatBrazil ianplayer.Zico,who cap-tured andbroke thehearts of Japanese soccer fans in just afew seasons. Inadditiontoforeignnames,J-Leagueteams have also adopted quite a few foreign pl ayers. They comefrom more than adozen countries,includingBrazil ,England,Nor-way, Germany, and theUkraine. Teams are allowed as many as five foreign players. although no more than three may be on the first-teamroster. Thetroubles of foreign baseballplayers in Ja-pan havebeenwelldocumentedinbooks andmovies,but J-Leaguesoccerhas been a rather differe nt story. In Japanese baseball. foreign players-mostlyAmericans-have neverbeen com-pletely welcome. Manyforeigners complain of treatment as suketto. or helpers-i.e .. not Zico-a nickname derived fromPortuguese-came to Ja-pan in1991 at the age of thirty-eight to help Mitsubi shiMetals corporate team become the J-League s Kashima Antlers. Sports prognosticators were stunned when Zico led the long-shot Ant-lers to winthe first stage of J-League sfirst season. Early thi s summer. just three years after atTiving, Zico retired from Japa-nese soccer. Three yearsis anormal tour of duty for aforeign athlete in Japan. and most athletes leave withlinleor nofanfare.But therewasnothingnormalaboutZico's re-tirement.Publicreactionwas tremendous.realplayers.Conventionalwisdomamong Japanese managers holds that rebellious and lazyAmericanplayers disruptthe harmony of rigidl y disciplined Japanese teams. Are-atll*Clii!illl _J.LE.I\GUE After thefinalwhistle blewforone of hislast games, Zico ran tothe cheeringfans at one end of thefield and threw hi s jersey into the crowd. They went wi ld.Runningto cent beer commercialplays onthi sstereo-type by reversing the roles: it shows a locker room sceneof aburly Americanplayerin- FujiBank's popular ]-League passbook theother end,hethrewhi sshortsintothe crowd. They went really wild.NHK sports cameras zoomed to the faces of heartbrokendignantlylecturing theimportance of team-work to hislaid-back Japanese teammate, who calmly gulps hi s beer in defiance. Instead of treating foreign players as suketto, J-League soc-cer has embraced themas skilled expe rts and teachers. Foreign baseball players are typically imported for size and strength, youngwomen.rollingtears streaking theredteam-colorface paint that spelled hi s name,:;- :I . Fortunately he had the fore-sightto wear more than a jock under his shorts,or theremight have been ariot. But Zico spopularity extendsbeyondthemillionsof youngwomen who ardentlyfoll ow the J-League anditsto smashhomeruns and hurl strikes. They often inspire fearandawe,but arerarelysi ngled outasteachersor role models: their power can' t be taught, and their knowl-edge and experi ence are often dismissed. But soccer is a different game.agameinwhichnormal-sizedplayers re ly on skill and strategy. Japanese soccer has looked to foreignplayersfortechniqueandexperience.notfor muscle. Manyforeign soccer players have achieved re-spect and acclaim that foreign baseball players have never known. Two exceptionalBrazilian- born soccer players. LuiRamos and Zi co, show the heights that foreign pl ay-ers can reach. players. When Zico retired, Japanese bookstores were sell-LuiRamos haspl ayedsoccerin Japan since1977. HewasafixtureontheYomiuricorporateteam,now Yerdy Kawasaki of theJ-League. ln1989 hebecamea Japanese citizen. changinghisnameto Ramosu Rui( 7 .:C :A ffllwt). Ramos light-brown curls and scraggly beard makehim easy tospot ontheplayingfield.and hesits front and center inthe team photo. Heis one of the great ]-League haircare ingatleastfourbooksby orabouthim.includingthe titles Jiiko no Riida Ron ( :;- :I 0) ' )- ?'"- Rffil . 'Zicos "Theory of Leadership") and Kami.1ama Jiiko no /s/10 ( NI 1*:;- :I O)illi_9:. "Estee med Words of theGod Zico"'). Of course, foreign baseball players have also written popu-larbooks.WarrenCromartie' sSambaSamuraiYakril ("FarewellSamuraiBaseball."publishedinEnglishas SluggingItOutinJapan)wasaverypopularbookin Japan.butmoreforCromartie'sinside gossip thanhis theory of leadership. Zicoisclearlyrespectedforhi sachievements and leadership,not justfor locker-room storytelling. Shortl y before Zico returned to Brazil , then-PrimeMiniste r Hata awarded him the Prime Mini ster's Pri ze. making him the firstforeigner toreceive that award.Tofindabaseball playerwhohasapproachedZicosimpactonJapan.it (unuinued ou paxe 77) 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.:'\' r? /t.: "(> bt.: "(>!!) uolmojamoja 110 =sluasujo-ken = JLfi/1', iJ.i kokoku Jlrm.we11=r, j .r, / '.fi yogenslw/urauwslw JOCk =-IT :F- 'J- sapora 60Mangajin The manga by Oshima Tsukasa Shoot! tellthestory of To!>hi.KenjiandKazuhiro-freshmen atKakegawaHigh Schoolandthe newestmembers(alongwithtwo otherfrehmen,ina andSasaki)of theschool'swellknown soccer club. Toshi,KenjiandKazuhi ro (they generally call eachother by their first namc'"s) once formedthe core of a formidable junior high school . occer team,butatKakegawaHigh, they are learning the hardway thathi gh school soccer is a whole new ball game. In thi s epi sode, the five freshmen are having their first practice with Kubo (referred to by all asKubo-san), the captain and star player of the team, who last year led theKakegawa soccer club to the Final Eight-an incredible accomplishment. since the club had been formed only six months earl ier. Kubo has been in the hospital, and thiihifirst time back with the team since the freshmen boys joined. Unaware thatKubo would be there, Toshi has shown up late to practice: now he is watching from the sidelines. aghast, as his friends get trouncedsingle-handedly by the greatKubo. The main characters Hiramatsu KazuhiroTanaka Toshihiko (Toshi) The artist At 24 years of age.Oshima Tsukasais a relative newcomertothemangascene.Butshehasal-readymadeanimpact,winningtheKodansha Manga Award in the boys' manga categoryShi1nen Bumon) for Shoot.'. her debut work. The judges were mostimpressed by her ability to Shiraishi Kenji 4'"1'7'7:.-Kubo Yoshiharu Captain, Kakegawa Soccer Club portray the experiences of adolescencewith such accuracyandsympathyevenwhilemaintaining the pace and excitement of a typical sports manga. Currently. Oshima is in her third year of serializ-ing Shoot! in Slu7kan ShiJnenMagajin 77"/:l /). Incidentally," Tsukasa"isamasculinepen name.Oshima's given name i s Yoshiko. O;,hima T,ukasa. Allright>rc,cncd.FtN publi>hcd in Japanin1991by Kodnn;,ha. To!.. yo.English lran;,lation rights arranged through KoJansha. Mangajin61 62Mangajin :/ .:1- 1-!Shoot! Narration: rpIT)

. .. Gakko -noseitoga ...]II schoolthroughoutofstudents(subj.) All the students in the school ... The whole school... . -jii is a suffix meaning "throughout - ," but whenmodifying another noun like this it' sbener translated as "all the studentsin school" _. "the whole/entire school." . seito most commonly is usedto refer to students through high school; the word can also refer to students in private classes of various kinds. College students are calledgakusei. . ga marks seito as the subject of the clause (amodifying clause), which continues through 2more panels; the fullsentence continues through S more panels. Narration: -ell) ... sonoyiishio . . . that' s/his bold/heroic figure(obj.) (at) his boldfigure, .. . . yiishi is wrinen with kanjimeaning "brave/bold/heroic" and "appearance/figure"; omarks the word as the di -rect object of the verb appearing inthe nextpanel. Narration:- t:.)1: ... Combined narration,panels1-3: hitomemirutameniatsumari . .. one eye/lookseepurposeforgather The entire school gatheredto get a in order to get a look, has gathered (and) look at his bold figure ... . hitome isliterally "one eye," but idiomatically means "a look"- most commonly implying a very brief "glance/glimpse,"but insome contexts used for more sustained "looks/observations/examinations"as well. . tame ni after a verb means "inorder to (do)/for the purpose of (doing)." . atsumari isthe stem form of atsumaru ("[something] gathers"), here being used as a continuingform . Narration:fD:}ti1:-:)-:) 1 ht:... . kanseinitsutsumareta . .. cheering voicesby/inis wrapped/enveloped/engulfed (something) is enveloped in cheers (on) the... . tsutsumareta is the passive past form of tsutswnu ("wrap/enfold/envelop"). Narration:IT)7 1- Jll)-:1: . . . a sa110fiirudoni ... morningin/duringfield onthe morning field... on morninl! field . ..(PL2) . no between two nouns makes the first into amodifier for the second: "morning field/field inthe morning/field of amorning." . the particle 11iisusedto mark the location where something or someone "exists/is present." Narration:ihiTJA -/){ "( It \ f:. o a nohitogakakete-ita. Combined narration, panels1-6: thatperson(subj.)was runningThe entire school gathered to get a that person was dashing about.look at his bold figure, and the the magnificent was dashing about.(PL2)magnificent dashed about Title::/ .:z.- r! the morning field that was envel-Shiito! ooed in cheers. Shoot! . ano hitohere has the feeling of "THAT person"- i.e., "a particular person of note/the person everyone's been talking about." Since theperson is a soccer player: "the phenomenaUmagnificent player." . kakete-ita is theplain/abrupt past formof kakete-iru ("is running"), the -te formof 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 akatakana rendering of English "shoot"; in Japanese shiito isused insports like basketball, soccer, and hockey- not for firearms. Mangajin63 7 64Mangajin :--- I-IShoot! ?.., ''skip"). mi is the stem form of min1 ("see/look at"), and ni after the s1em form of averb means "in order to/for the purpose of," or simply "to/for." Kite n is a contraction of kire-irtl ("have come,"from kuru. ''come") plus explanatory no.Mi ni kuru= "come to see"; mini kite-iru ="have come to see." Nitta:3; tL7j: lv irc' 0iJ'(J)77'1'(J)A 7J'7r ?/t.:. tl- (J)?! Arenankadokkanokurabunosukauto-manjaneno? thatsomething likesomewhereof/fromclub'sscout(s)are not(explan.-?) "(And) a r en 't those guysover there scouts from some Cpro) club?"(PL2) are means "that"when referring tosomething that is not close to either the speaker or tlielislener:"that over there." nanka is a colloquial nado ("something/things like"), hereused inplace of wato mark thetopic. dokkais a colloquial dokoka ("somewhere"). Kurabu, fromEnglish "club," refers here to some kind of professional, semi-professional, or corporate soccer team. sukatllo-manisfromEnglish "scout" and "man"; sukauto can also be used by ilself forthe same meaning. Nitta: Nitta: lj:;i; o Hyo-.sugenii. (exclam.)amazing/incredible(colloq.) "Yow! T hat's incredible!"(PL2) 7j: lv "t -? t.:. -? 'lfJJ 1\ t.l}j"t:1-8t!.'If .:c.o Nan teuattehatsu-shutsujodebesuto eitodaze. whatever you sayfirst appearanceinbest-8is/was(emph.) "I meanman! They madethefinal 8 in their first aooear-a nce!"(PL2) j.._ 1*lv'/){It\ 7j: iJ' -? t.:.C;,;l!!f;J.ft.:. 0t.:.t!..:? - 7j: 0 Kubo-sangainakauaramuridattadaronii. (sumame-hon.) (subj.)if notpresentimpossiblewasprobably(colloq.) "Ibet thevcould neverhave d one itwithout Kubo."(PL2) suge is a masculine/slangversion of sugoi "amazing/awesome/incredible". a longnli emphasizes exclamatory ex-pressions with the feeling of ''it really is so, isn't it?'' nan tettatte is a contraction of nan te iuatte, a colloquial equivalent of nanro itte mo, which means ''whatever anyone says/say what you will" -> "when allis said and done/after all"; sometimes it's used idiomatically as a kind of connect-ing exclamation: ''I'm telling you, . .. !II mean, man!... harsu- is a prefix meaning "fi rst,'' and shutsujo refersto an "appearance" in a competition/tournament/league. inakattara is a conditional "if' formof inai, the negative of iru ("exist/be present"). muri da ="is impossible," and muri daua = ' 'was impossible/would have been impossible." Sound FX:-If ;t Za!(abrupt scrapingsound of shoes on ground as hecomes to ahalt) Sasaki:tiT El3 ,3 -cv' -::> -cb*"'-?tt lj:v' o(fromiu, "say") isaconditional,''evenif you say." Tteitte mooitsukenai.When toisused at the beginningof a sentence like (quote)evenif saycan' t catch upthis, it refers back tothelast thing said: "even if you "Sohemay say, but Ican' tcatch up."(PL2)say that/so youmay say. but . . ." 1---------------------------, oitsukenai is thenegati ve of oitsukeru, the potential BKenii:< -::> !I("can/able to") formof oitsuku("catch up"). Ku!(sound made in theback of throat)ku is not a standardinterjection or exclamation, but Sound FX:Y:; Da! (soundof foothittinggroundforcefullywhen running) (contmued on followmg page) rather a soundthat refl ects his great exerti on and/or de-lterminati on. dada dadarepresents running, and a single da repre-sents taking off at arun - or if alreadyrunning. anew burst of speed/effort. Mangajin67 ;.,. - t- 1 Shoot! 68Mangajin :/- 1-!Shoot! (etmtinuedfmm prrrilllt\ SoundFX: To hi: Kazuhiro: I{; Ba!(effect of sudden, vigorous/dramatic action- here of Kazuhiro leaping intoKubo's path) ' -/)t\ -:n \ t.: .f, - ! Hiramats11gaoits11ita! (surname)(>ubj.)caught up oits11itais the plain/abrupt past fonn of oits11k11 (""catch up""). "Hira matsu's caught him!"(PL2) /rl!tliMlil.!.: i>A.n'! KondoII"Okalllanni 111011ka! limea\-forea>ilylet get b)thing('!) 'No way willI let him getpast me so easily this time!"" "No way is_huoing to get by me so easily thistime!"(PL2) In11kaseru is the causative (""make/ let"") form of mrku (""pass/outrun/ get past""). .. mo11( o) ka after a non-past verb makesanexpressionli kenoway willI ... /bynomeans wi llI .. .'' (See Basic Japanese No.36) SoundFX:-If 'I Za.' (abrupt scraping sound of shoes on ground as he plantshimself inposition) Kazuhiro:::' !!koi is the abrupt command fom1of kuru ('"come"").Inface-offs Koi!like thi. it can signalreadiness for battle. or simply be a shout cometo help the speaker focus hi s energies onthe challenge. 'Comeon!"(PL2) (BKazuhiro:.1:'1'-.Ufl)!VJJtt1.: (thinking)Jiilw111ilinnougoJ..inimadauasarec/w ikenai. upper lxxl>of1110\CITh.'lllb)mu\tnot be ""Inot be misled by his upper body movements." "I can' tlet hisupperbody movements fool me."(PL2) jlilwnsllinisliterally ""upper half body'":the wordfor ""lower body""isr 'l'-4kailansilin. ugo/..i i' a nounform of ugoku ("move'' ).Jiilwmlri11110 ugoki =""movements of the upper body... madmrasareclw i\ a contractionof madowasarete ll'O. the-te fom1of madmmsu ("confue/perplex/ mislead"") plus ua.The pa11ern-te uaikenaithe "muMnot- formof verbs, so madowasarete rva ikenai =""mustnotbe confused/mi'iled/fooled ... Kazuhiro:/f;t 't'(J)7v- 't'b1!' :>f.:-f'

@] @] (thinking)lmamtrde110puredewakaua:.o. nowuntilofpia)(mean>)(emph.) ""I haveunderstood fromhisplayuntilnow." "I' ve liguredout fromwatching hisplay_sofar."(PL2) Kazuhiro::.. (J)A(J)'ii!IJ:Eli1i:t! (thinking)Ko11olriwnojiJ..u-aslriualridaridtr. thi;pcr-on/guy'P" otfoota'>-forleft" "Thisguy's pivotfoot is hisleft."(PL2) pure. fromEnglish "play:' isa nouninthoughit can be tumed into a verb by adding sum ('"do"). wakaua i.,the plain/abrupt pastform of wakaru (""come to know/understand").Dethe preceding asthe mean., of the following action. imamade no p11re is the means bywhich hehas "come to understand (some-thing).'":o is a rough/masculine panicle for emphasis. jiku-aslri ("axis/pivot"+ "foot/leg") refers to thefoot/leg that is not his kicking/striking foot. Kazuhiro: (thinking) FX: FX: FX: Kazuhiro: (thinking) )i_ J:-\t t..:?! Boru0ukaseta?! ball(obj.)made noal "He floated the ball?" "He uo1med the ball UJ!?"(PL2) . ukase/ais the plain/abrupt past form of ukaseru,the causative (''make/let") form of uku,"(something) floats/ lifts up (into the air)." Sound FX:7f :; Ga! (effect of Kazuhiro's foot striking theunderside of the ball) (cowinuedfrom page 35) volvementwiththemagazineatthat timewas themost concrete outside fac-torinmydecision.That,andamore nebulousknowledge that, what withthe risingprominenceof Japaninworld economics, therewas plenty of commer-cial translation out there tobe done.But really,nothingdrewmeaway;Iwas drivenawaybyparticularproblemsas-sociatedwiththepositionIthenheld, and by my longstanding discomfort with the two-way pull of teaching and schol-arship demands in academia-including itslackofrespectfortranslationasa fullycreditablescholarlyactivity.The demandsof teachinghadinfactleftme with precious little time to translate. The Inter v iew argumentthathadpersuadedmetogo into an academic career hadprovedfalse forme,soitwas timetotrysomething else;itwastimetotryreturningtothe course l had originally pl anned. l expected to bone up on a specialty or twoandbecomearegular commer-cial/technicaltranslator,alo ngwithex-panding my work for Mangajin, but as it happened,Igotacommissiontotrans-lateGokaShohei 'sFuryoki("POW Journal"),averylongnovelthatI've onlyrecentlyfinished.So betweenthat andMangajin,forthetimebeingat least,I'veremainedaliteraryandcul -turaltrans lator.ThenextprojectI' m planningisShono'smostimportant novel ,YilbenoKumo("Eveni ng Clouds"),butunlessIcangetsome grant money for that, I may well be at the point where I need to diversify into some commercial area. Doyouthinkyou' llevergobackto teaching? Ienjoyedteaching alot,but translation isreallymyfirstlove.Undertheright conditions, if I thought I could make the originalarg umentthattookmeinto teachingin the first place work for me, I might go back into the classroom. Inthe meantime, I liketo think of Mangajin as myc lassroomandthemagaz ine's 30,000 readers as my students.I'BJ Mangajin73 74Mangajin ,_crShoot! ~ 1' .A..r'\'!;t t o'/~::..--7 !? :::.. - 1-!Shoot! Yalta!Hiramarsugakuria shira! did(surname)(>ubj.)cleared "Allright! Hiramatsu clearedtheball!"(PL2) Sound FX:;:(;:(X ... Zu :u (effect of sliding on ground) Sound FX::f- / Piin (effect of ballor other object being tossed/flying throughthe air) yarrais theplain/abmptpast form of yaru(''do"), so it literally means "(Uwelhe) did it,"but one of its most prominent uses is as an exclamation of joy. ''Airight!/Yeah!/Hooray!" See Basic Japanese 13. kuria is from Englih ''clear." and kuria slrita is thepast form of theverb kuria suru (''to clear"). @JKazuhiro:1 { ,1\71 t:.:!0(!)7dlv :..lv t:t0 -:> I?... ?! Ba- baka-na!AnoKubo-sangakonnaassari ... ? f..foolish/crazythat(sumame-hon.)(subj.) this mucheasily ''ILcan' tbe! For the great Kubo to so_easil _/' (PL2) baka-na = "idiotic/ fooli sh/crazy,'' so as an exclamation it's like "That's crazy/impossible/can' t be!" ano Kubo-san isliterally'' thatKubo-san: meaning the one everyone knows is so great. konna in this case is short for komw-ni. "thismuch/so: and assari =easi ly/effortlessly.'' so komw assari = "so easi ly." Kenji:-T 1 AfiJJt! NaisuKa:.ulriro! nice(given name) " Nice goin_g,Kazuhiro!"(PL2) Sound FX:)f' / Da! (effect of Kenji dashing forward to grab the cleared ball) Kenji:'v' t:. lwdaki! will receive "It's all mine!"(PL2) iradaki is essenti ally a tmncated iradakimasrt,the PL3form of iratlaku (''receive/willreceive"); the truncated formdropsto PL2. Kenji:.Z?! ?! "Huh?"(PL2) Sound FX:.::f .:z.Jt.- Jl- Jl-Gyu ru rum (effect of backspin on ball asit hits the ground) Sound FX:A - "I Sii! (effect of smooth, rapid movement - of ballbouncing back thewayit came) Kenji:'/;t-:>! Na!Bakku supin?! wha?backspin " Wha .. . ? (It had) backspin?!"(PL2) Kenji:li-:>! Ha! (intcrj.) "Ai!"(PL2) Ira' is an interjection of sudden awareness. Sound FX:;\:; Ba! (effect of suddenvigorous/dramaticmove by Kubo) Mangajin75 76Manga Sound FX:AJ Su! (effect of smooth. quick action- here of moving in forthe strike) Sound FX:A"., Supa! Whop! (crisp kick of theball) J - L eague flllge 60) may be necessary to go allthe way back to Babe Ruth. In1934. shortlyafterhi sreleasefromtheYankees.Ruthledanim-mensely popular seventeen-game all-star tour that inspiredthe lico'sTheoryof Leader-ship,bytherespected former Antler beginning of Japanese pro baseball. Japanese players in the J-League alsoleadadifferentlifefromtheir baseball counterparts.Mostballplayers arelike salarymen inuni-form: cogs in the machine of the spon-soring corporation.Manyhave rules about player conduct and groom-ing.Most players areverybusinel.\-likeonthefield.andaneatly trimmed mustache is a bold symbolof indi vidual-ism.Therearea few new-general ion ballplayerswho showsomeflair. suchas star outfielderAkiyamaKoji.who occasionallydoesatrademarkrunningflip across home plate to punctuate a big home run. But Akiyama's antics arc on the wild side of Japa-nesebaseball.andtheypaleagainstthecolorfulJ-Leaguers.When a J-League player scores a goal.hi s celebra-ti on mayinclude jumps. flips. hip-wiggling.andwavinghand gestures thatdefypolitedescription.SomeJ-Leaguersmake ational Football League touchdown celebrations look demure. In the grooming department. most J-League player:. are rea-sonably clean-cut. but some are less conventional. Twenty-two year old Abc of VerdyKawasakihas dyedhair and Hi\ 26-year-old teammate Kitazawa Tsuyoshihas hair that hangs near his shoulders. In Japanese baseball.styles are as likely asmulti-coloredmohawks on salarymen. A new attitude TheJ-League smorerelaxedattitudesaboutforeignplayers. namboyant scoring celebrations. andradicalhairstyles areall part of its carefully craftedimage. J-League teams are not bur-de ned wi th the duty of representing the straight-arrow values of al. ingle sponsoring company.The teamsplayto entertainthe fansandmakemoney.andthey"redoingbothverywell.J-League is extremely popular with the shinjinmi (the "new breed"').Japan'sfun-lovinggenerationof teensandtwenty-somethings who grew up during the prosperous 80s. But Japana land of booms and fads.particularly among young people. The looming question is whether J-League popu-laritywi IIla\t.Oneof thestrongestfactorsinitsfavor Ka\\ abuchi'" philosoph}of local support for every team. in the formof .,pon).Or !!ti" '.; t.: -/J' b

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t/) -c 0Nar ration: Roku-san no o-meate wa doyara YiihiKinema no mogiri no onna no ko dana yo da. Roku-san's realpurpose (for coming) was apparently(to see) Sunset Cinema's ti cket 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. Afterthat, Roku's great love of movies vanished without atrace. (PL2) meare ='purpose/aim"; the honorific o- is often added even in informal speech. diJyara typi cally pairs up with a conjecturalformlater in the sentence (here, yo da) for the meani ng ''most likely/apparently.'' hisomete is the-re form of hisomeru, and ka!ie o hisomem, literally some-thing like 'conceal one's shadow," is an expressi on that means " vanish/ disappear''- used not only of people but al so of abstracti onslike eiga-zuki ("fondness for fi l m"). Shima/la after a -re form has several meanings, but in this case it implies the action took place thoroughly/compl etel y. Mangajin87 CDIppei: (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 KiueITabako StampsICigarettes clliuomo is a colloquial/slang equivalent of ::.en::.en.which combines with a negative later in the to mean"not at aJI." konogorn ="recentl y/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 ofanother verb implies the actionis done for the benefit of thespeaker/ subject. liJFriend: 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 anabrupt "hey!" or "yo1"for gelli ng someone s auention. and oi, with a long vowel. bfor trying to get the auention of someone rela1ively far away. Yti-clran chi is a colloquial comraction of Yii-cllan no uclli, 'Yii-chan s house." de marks thelocation where an action takes place/wi ll takeplace. yam is an informal word for "do: so eiga (o) yaru literally "do a movie" ' show a movie." ue is a colloquial equivalent of to. to mark a quote. I1JSound Kaslw kasha kashtt (whirring of film throughprojector) 0Sound FX: Kasha kasha kas/w (whirring of filmthroughprojector) [I)On Billboard: Burt/ HawaiIEmbisu Puresurii Blue HawaiiIElvis Presley On Painter 's Hat: Maruei Kanban Maruei Signboards Over TicketWindow: (partially obscured) RriJkin( -/no) I01ona I Gakusei I ShiJnin (Admissions) Fee Chart I Adults I Stu-dents I Children LowerRigb!: (partially obscured) A ki111010Den(k i) Akimoto Appliances LowerLeft: HonjitsuKytlkan ClosedToday 88Mangajin a kanji a circle is often (though not always) read mam- . so we've read the circle(ei) inside it asMaruei.which could be either the official name or a nickname for the company. Since ei the first kanjiin eiga ("movie/fil m"), we gather that this sign painter works for a company special izing in movie billboards. nokin ="fee/fare" and in'o ="chan/table/schedule." the word ,J, Ashonin for. "children" is restricted to schedules of admision feesand tran\ponation fares. These same kanji canbe read kobiw. in which case they mean"dwarf/midget," or shiJjin.in which casethey mean "insig-ni ficant/small-minded person." lwnjilsu more formal than kyo ("today"): it's the preferred word for "today" on and in public announcements. kyiikan is written with kanji meaning "rest" and "hall: and i\ theword for "closed" used by public hall\ (kaikan). theater\ (eigakan). (lwkubwsuka11: bijutsukan).aquariums(.mi::.okukan), and any other building with a name ending in -kcm. The series: Nani1111a Kin'yudo byAoki Yuji Part 6 The title: Naniwa Kin'yudo first appearedin Kodanha's Weekly Comic Morning (:ilM FIJ ::I "/7.:C - =- / :1')in1990. It was an immediate hit andhas run cont inuously ever since. The appeal of this series seems to be a combination of the subject matter (the unethical of an Osakaloan/finance com-pany), the gritty Osaka dialect used bymost of the characters, and the rough but oddly detailed style of drawing. Naniwa (written hereinkata kana-T =- '7, but sometimes written with the kanji or ift:i)is an old namefor the Osaka area, where thiscries is set.Kin'yii ( 1fi/M!.)mean "money/finance," and the ending do (}i1) written withthe kanj i for "road/path." canbe thought of as meaning "the way of ..."Gi ven the content of the stories, thetit le couldbe rendered as ' The Way of the OsakaLoan Shark."' The story so far: Our hero, Haibara Tatsuyuki, is a new hire at a somewhat shady loan company called EmpireFinance, Inc.Heis put to workcold-calling Osaka-area construc-tionin an efforttolurethem into high-interest loans. Most of thepeople who answer his calls are hostile and rude, butthen Haibara gets lucky. The owner of Takataka Construction, Takahashi Kunimasa.inqui res aboutinterestrate!>. Haibara passes the phone tohis skil-fulsupervisor, Kuwata, wholearns that Takahashineeds a loan of3 millionby the next afternoon.Kuwata cleverl y ex-plains theinterest in a waythat sounds quite reasonable but actually works out to the exorbitant rate of 42% a year. Takahashiraises no objections to the terms.oKuwata fills out a loan applica-ti on over the phone, discovering that Takahashihas a homemaker wife and a daughter, Masako, who works at the ward office. Kuwara and Haibara check on Takahashi's fi nancial situation and find that he is deeply in debt. The company's shacho agrees tolend the money only if Kuwata can convi nce Takahashi 10have hi s daughter cosign."We can get our moneyback out of her severancepay if nothing else; he notes. Kuwata wails untilthe next morning to call Takahashi, andinforms himthat themoney can only belentwithMasako acosigner.eeding the money by 3:00 that afternoon, the desperateman finds himself wi thhis back 10the wall. 1'J Aol..iYiiji. All rights rc\cned. FiN pubh,hcd in Japan in1990 byKodansha. Tol..yo.Engli'h tran,lationnght' arranged throughKodan,ha. Mangajin89 -r:::.. '7i? Do ya?lgaiyaro? what/howis unexpected/surprisingisn't it " What do you think? Ibet you' re surP-rised." Haibara:L iLt..: o Kanshinshinwshita. admirationdid "I'm imJ!ressed."(PL3) (PL2-K) do yais dialect for do da, "what/how isit?"- in this case meaning "what do you think?/how does that grab you?" yarois dialect for the conjectural dan), here being used as a question. "isn't it?" lgai yaro ="Surpris-ing,isn't it' '-> "You' resurprised, aren't you?" kanshin is a nounreferring to feelings of ''admira-tion," and kanshin suru is itsverb form, "admire/ be struck with admiration/be impressed.'' Shimashita is thePL3pastform of suru. Kuwata: Jl!f.:tl-/){}Rh(::Xt-97.:>fgffl1:fo:J.,!v-?"Co Shoraidokuritsu sumtokikoregaginkifni raisurushinyoninarunyade. futurehl:comeindependent time/whenthis(subj.)bankface/fac ingtrust/credittobecomes(explan.)is(emph.) " Inthe future, whenI go independent, this becomes trust in facing the banks." " ln the future when I strike out on mv ownthiswill be the basis for credit in mv dealin2swith banks." (PL2) roki = "time," but direct ly after averb,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)facingthe bank(s)"-> "in ( my) dealings with the bank(s)." (continued on followingpage) Mangajin91 T- '7 ~ ~ l NaniwaKin'y0di5 92Mangajin

B @] 7.::. '7 Naniwa Kin'yDdo ---------(cominued from prel'ious page) Kuwata:ttz Bi11br1uasum111011ya 11ai.Bi11bii-ninlt'C/fuminijirarereshikamohoritsunishiragawcma akanno ya! poverty as-fordothingis notpoor peopleas-foraretrampled on-andmoreoverlawstomust adhere/follow(explan.) " Poverty is for the birds. Poor peotllf.get trampled all overand thev stilJhave to obev the laws!" (PL2-K) Sound FX:7- 'J Bii1 Vrrrroom(sound of car engine) Kuwata:J\:; c:..J.:,it-::> --c qT< i1' o Saki nimeslzikuue ikuka. firstmealeat-and-go(?) " Let's have abite to eat on the way."(PL2) ya nai isKansai dialect for ja nai ("isnot"). BinbiJ wa suru mo11(o) ya nai isliterally "poverty is not a thingto do." implying ' 'poverty is to be avoided/shunned'' -->"poverty isfor the birds." fuminijirarere isthe passive -re form of jiuninijiru ("trample on"). The-re formactslike a conjunctive "and.''and shikamo adds the em-phatic feeling of "moreover/still." shiwgawana akcmis aKansai dialect contraction of shiwga11anakereba ikenai, a "must/have to" form of shitagau ("follow/obey/adhereto"). no ''a is dialect for the explanatory 110 da (like "it is the case that . .." ). saki-ni modifies a verb to mean "(do the action) first/before (someone/something else).'' meshi ="ri ce/meal,"and kuue is the-te form of kuu, 'eat": both words are informalandmostly masculine, asisthe combinationmeshi (o) kuu ("eat ameal''). iku ("go") after the-teform of another verbimplies "do theaction and (then) go": it' s often usedfor actions done on the way somewhere. The questionindicated by ka is mostlyrhetorical. Haibara:5 P:J no between amoney value and a noun implies "that costs/is worth," so gosen-en no chiislzoku = "l unch that costs 5,000.'' Gosen-ennoclzt7shokunantelzajimeredesu. 5.000(=o)lunch(quote)lirst timeis " Asfora5,000 lunch, thisis(my)firsttime." "I' ve never had a 5,000 lunch before."(PL3) Kuwata:-t-1i1'o nanteis a colloqui al quotative formthat implies the s ituation/thing describedis extraordinary/as-tonishing.It serves inplaceof the topic marker 1m,so gosen-en no chiishoku1wnre -->"as for a 5,000 lunch, .. : Soka. that way(?) " Is that right?"(PL2) lzajimete can be either an adverb meaning "for the first time.'' or a noun meaning ' 'thefirst time." Kuwata:t..:i!.::. li.Z.Z }t-?--cJfr!J--::H)Ivc77J/"t" !! i!isKansai dialect for ii/yoi ("good/ fine"). Tamani1vai!111011kt!lteseitsuke11 to akande! occasionally as-for good/fine thingseat-and energy/vigormust put on/altach(emph.) "Once in awhile xou have to eat something good to keep :tOI!f strength up_,_you know."(PL2-K) Sound FX:7f :;ff ; Ga/SI.tgars u kulle is again the -reformof kuu (''eat"); the -teform hereis used to indicatethe means/manner by which the following action takes place. sei ='energy/vigor," and sei tsuken is a cont.ract ion of sei (o) rsukenai, the negative form of sei otsukeru whichmeans ' 'put on strength/build up one's vigor." Haibar:_a: (effectof eatingvoraciously- orof some other greedy/hungry/ s ingle-minded action) -t- 7:,.-t 7:>qftPivc o2lhf-r--t.l: o Soro soroika11w.Mo11ijidesuyo. already2:00is(emph.)soon/by and byif don't go "We' d betterbe_going. It's already 2 o' clock."(PL3) -n to akan isKansai dialect for -nai to ikenai, whichmakes a "must/have to" form of verbs. Kuwata:-t-1iJ' 0 Sr1ka. what way(?) "Is thatso?" - " Okav."(PL2) Sound FX: I!- ../ Pii-! Zi-i-ip(sound of unzippingmoney bag) Sound FX:-tt;; Sa! soro soro literallymeans ''slowly/graduall y/by and by," but it' s frequentlyused in situati onslike this to mean ' It 's abouttimefor (us to leave)/we' d better be(leaving)." ikan is a contraction of ikanai, the negati ve form of iku ("go"). To after a non-past verb makes a conditional "if/when" mean-ing,but here ikanai to is short for ikanai roikenai, a' must/ have to" formof iku, so soro soro ikanai rois " we must go, byandby'''we'd better be going." (effectof quick act ion/movement - here of pullinga billfromthe s tac kof10,000 notes) Kuwata:-tt 7 ,fr.:.i1' o Sa.ikoka. (intetj.)shall go(") " Wellthenshallwe go?"(PL2) Cashier:tf;IJf){c 1,:" iL. t..: o Arigatr)go:aimasltita. " Thank vou ver::ymuch."(PL4) sii is oftenusedlike ' well now/allright/come on"to prepare one-self for action or to urge the listener to action. ikois ashott iko, the volitional ("let' sf[ shall")form of iku ("go"). Volitional forms are typically shorte ned thi s way inKansai dialect, muchmore often than in standard Japanese. Mangajin93 -r = 7~ i l NaniwaKin 'yudo ------94Mangajin ;-= Naniwa Kin'yOdo GHaibara: "? (J)I TJ PL'Jt:.}j!.:IIIH t 7.,i:>t{'1.1' "?t.:lv"t' T1r'? Sakkino ichiman-en.Jenpiini10dokeruo-kaneja nakaua"desuka? a "hile ago's10.000other pany/dienltodeh\er(hon.)-mone)"a' not(c,plan.)is/arc('?) " Wasn't that 10 000 ju t now (part of themoney_U,e're supposed) to deliver to the clientZ" (PL3) Kuwata:.h!.t -:> f.:lvn'o Mitollan ka. were watching(cxplan.-?) " Were you watching?"' - "So_J'OU saw thatdid you?"(PL2) senpii is one of the most common ways of referring to "the other pan) in a bu\iness" client." Senpii ni wdokeru i s a complete thought/sentence ("[we[ deliver to the client") modifying o-kane ("money"): "money to be delivered to the client." ja nakaua is thepastform of ja nai not"). and 11 de.w ka. with explanatory n(o). asksfor an explanation. mirorta is a contraction of mire-oua. past form of mire-oru. which is equivalent to mire-iru ("is/are watching"). Haibara:t!. v' tt.-)_.;.:L" Tn',-t- lv::.C.L "'C Daijiibudesu ka,SOIIIIGkorushite. all righll.,afcis it?thatkind ofthingto do "Is it really all ri!!ht - doing at!!ingli.ke that?"( PL3) daijiibu means "all right/okay" in the sense of "nofor concern." U\ing it as a question implies there li cause for concern: " Is it okay?/is it safe?/are you all right'?/etc." shireis the -reform of suru ("do"). The -reformoften used to indicate the cause/reason for whatfollows. but in this the syntax is invened. Normal order would be .1'011110koro shite daijr1budesu ka ?.with sO/lila koro shire indicating the reason for his asking daijiibu desuka'! Kuwata: T""-"Cn' t,j "?t.:-?1::>" Sakihodo"Mitsukaranandara.wberegayurusareru"wiuayaro. awhile agoif not seen/caughtall/c\Cl')thing is pcrmined(quOic)'>31dright?/didn't I'! "A while ago, I sajd ' Anything goes so long as you d