Maison Ikkoku ~~~~~~~~~~~~~ Deluxe Manga Translation - with Annotations and Commentary Volume 3, Part 1, of the Normal Width Japanese Compilations, or Volume 2, Part 6, of the Wideban Japanese Compilations Chapter Title: "Anata no soba de" or Release 1, 93.12.19 Translates from Volume 3's cover page to the end of "Anata no soba de". `Dedicated to the reader who wants to know EVERYTHING.' `Tip of the hat to Mangajin Magazine.' ******* ******** Warning: this document contains EXCESSIVE AMOUNTS of trivia and spoilers. ******* ******** Maison Ikkoku is Copyright 1993 by Rumiko Takahashi and Shogakukan Publishing. This document is Copyright 1993 by Glenn Tarigan. ( The reproduced articles remain the property of the original authors. I'm just taking credit for the compilation. ) Distribute freely for non-commercial purposes and without charge. This document may be distributed provided it is copied with absolutely NO modifications (this includes reformatting of the text). This is a part of the Maison Ikkoku Guidebook File Library. Its official filename is "mi-v3-1.r1.txt". This File Library consists of this document and a file by the name of "maison-guide-r3.txt" (Release 3). (1) Both this translation and the main Guidebook are available on the venice.mps.ohio-state.edu FTP site in the Maison Ikkoku file hierarchy. Please upload these documents to other file archives. I would appreciate getting suggestions, comments, insights, more annotations, endnotes, and corrections. Send e-mail to the compiler, Glenn Tarigan, at "tarigan@sfu.ca". ------------------------------------------------------------------------------ Credits: ~~~~~~~ This Deluxe Manga Translation was compiled and edited by: Glenn Tarigan (tarigan@sfu.ca) - from Coquitlam, British Columbia (Canada) = 49.15'N 122.50'W Translation help (i.e., non-trivial phrases) and other contributions by: ITO, Takayuki (yuki@is.s.u-tokyo.ac.jp) - from Tokyo (Japan) = 35.45'N 139.30'E David Oakey (lost his Internet account as he left the USA in Nov'93) - he's gone somewhere to Japan, but when he was helping out, he was in Fountain Valley, California (USA) = 33.42'N 117.57'W Andy Johnson (aej@cs.wayne.edu) - from Detroit, Michigan (USA) = 42.20'N 83.03'W Jeff Williamson (jeff@casbah.acns.nwu.edu) - from Chicago, Illinois (USA) = 41.51'N 87.39'W Vickie West (vickiewest@delphi.com) - from Fairmount, Indiana (USA) = 40.24'N 85.39'W Andrew Chen (achen@mit.edu) - from Chicago, Illinois (USA) = 41.51'N 87.39'W C Sue Shambaugh (71231.2141@compuserve.com) - from Clinton, Maryland (USA) = 38.45'N 76.53'W Gavin Steyn (steyn@ll.mit.edu) - from Burlington, Massachusetts (USA) = 42.30'N 71.11'W Harold Melanson (hgm@aspen.cray.com) - from Minneapolis, Minnesota (USA) = 44.58'N 93.15'W Howard Tom (howard@cam.org) - Montreal, Quebec (Canada) = 45.31'N 73.34'W Robert Carragher (carraghe@cs.ucsd.edu) - La Jolla, California (USA) = 32.51'N 117.16'W Yes, each address has numbers for latitude and longitude ^_^ (2) [ATLA84] ------------------------------------------------------------------------------ Introduction: The Normal Width Compilation is the standard format against which all other reprints are measured. Therefore this document focuses on the contents of the normal width volume and the official filename is "mi-v3-1.r1.txt". Or, if you like clear names, then "MaisonIkkoku-vol3part1.deluxe_manga_translation.release1.txt" should be explicit enough. (3) Despite the focus on the normal volume, I've tried to make this translation convenient for owners of the second wideban (4) volume by including page numbers and descriptions for both versions. See the wideban supplemental information near the end of the document. This is more of an in-depth examination (with some informal commentary) of the manga rather than a straight translation. Inevitably, with this intense level of description, something had to give, and that's why this translation may be hard to read, and may make your head spin with extraneous details. If you want a plain English-only text, I've made it easier for you by separating the translation from the annotations--all you have to do to extract the basic English text is copy the left column of the translation. Compiler's comments: This is my first ever attempt at translating Japanese. I know I'm hardly qualified to do a translation--I haven't taken any formal instruction and have only been studying it off and on (mostly off) for the past year and a half--so it ended up that a lot of the real translation was done by other people. I did the easy parts, like transcribing most of the Japanese text into romaji form, translating the seemingly obvious phrases, and writing descriptions and notes. Seeing as this is my first ever translation, I tried to make it stand out from the others I've seen on the Internet. To do this, I included some things in this document that are rarely seen in translations. The result is that this translation borders on the ridiculous. Yup, pushing the envelope, we are. I chose to do this chapter first because, when I started, this was the lowest numbered volume that I owned. There was another reason why I chose this chapter: it happened to be the one for which I had been able to create the most annotations. I really doubt I could come up with this many notes for any other chapter without repeating myself (but I'll try!). Thanks to all the people who contributed annotations and their comments. What's with all these annotations anyway? Well, I'm the kind of reader who searches for manga translations on the network and then reads only the translator's notes and comments, while discarding the actual translation. If you're also that kind of reader, then this translation was MADE FOR YOU, because even if you throw away the translation, there's still over *half* the document left to read. Ho ho ho. As far as preferences go, this chapter is only a mid-ranger in my ranking list. Even so, this chapter turned out to have a surprising amount of depth--I was discovering new things about this chapter months after I started the translating and annotating. At any rate, the next chapter I translate (more aptly, I and whomever I can call upon to help) will probably be one where Godai and Kyoko do more interesting things with each other... Which means that I don't intend to translate any other chapter from Volume 3. Translation notes: We all know that there's more than one way to translate a phrase from one language to another. With that in mind, I created this translation as an attempt to give the reader as much of the flavor of the original Japanese as possible, and to show some of the different possibilities for translation. This translation gives enough information that the reader can learn something of the source language and culture of the original. That, to me, is part of what's so interesting about reading books from other countries. In this respect, this translation is unlike most commercial translations which are guilty of altering or ignoring such references (there are happy exceptions such as Mangajin's translations). I realize they can't help it... but hard-core fans demand more! Another reason for my compiling and creating this ridiculous level of detail in a translation is that I'm an over-the-top raving fan of Maison Ikkoku. You may have guessed that fact already... I'm not sure what I'd have to do to make this translation sound like American-English because I'm a Canadian, eh? For that matter, is there such a thing as Canadian-English? Instead, I'm attempting to use a sort of mild Japanese-English. This partly involves the usage of `ano', `ee', `ja', `hai' and so on, rather than their English equivalents. And I don't change the names: Godai is not called Yuhsaku by anyone except his relatives. ------------------------------------------------------------------------------ General Conventions: ~~~~~~~~~~~~~~~~~~~ (....) A character's thoughts. <....> Definitions or translations. [....] When within dialogue: scene descriptions. [....] When outside of dialogue: comments and annotations. {....} Comments within the English translation's column. (x) where x is a number, indicates an endnote. A seventy-eight dash sequence is a section separator. A sixty dash sequence signifies a center page break. A sequence of sixty equals signs signifies a page break where you have to turn the leaf to see the next page. `Voice' refers to any speaker who isn't visible in the current panel. Ex. Voice (Kyoko): Is it that fun to play jokes on me?! Voice (Godai): Of course not! Yotsuya (to the cat): Are you single? Japanese transcription: (this is not a context-free system) ~~~~~~~~~~~~~~~~~~~~~~ For unquoted romaji, usually anything in uppercase was originally kanji. Lowercase letters usually indicate syllables that were hiragana. ____ .... An `overline' indicates syllables that were written in katakana. [....] Square brackets also indicate syllables written in katakana. (This is so that I can fit it onto a single screen-line when necessary; for example, within paragraphs.) ____ Example: KANRININ-san no baka. | | | | | | | +---- katakana kanji +---+----- hiragana _...._ Furigana (a fairly rare thing in MI manga, actually). #....# Text that was printed in Roman instead of Japanese letters. `....' Kana sound effects, which are now transcribed by romaji. This only applies within the English translation; in other locations, the quotes only serve to separate or emphasize the Japanese words (e.g., in a title). The use of uppercase only indicates the volume level: `XXXXX' is louder than `Xxxxx' is louder than `xxxxx'. Examples: `[PATAN]' = loud katakana `[pari]' = quiet katakana `ZU--N' = loud hiragana `pari' = quiet hiragana `Ha' = semi-loud hiragana Two dashes signify a single vowel extension. Ex. ko--hi-- = koohii A sequence of more than two dashes signifies a longer vowel extension. Ex. Hello--- = Hellooo Goo---d By---e----- = Gooood Byyyeeeee ~~, or more, indicates a squiggly line that was used in the original text. It's a sort of vowel extension and can apply to louder voices, wavery voices, as well as singing. -= Notes: In Japanese, these vowel extensions are usually used in slang or colloquial speech to emphasize a word. In normal circumstances, there wouldn't be this kind of vowel extension. This doesn't apply to GAIRAIGO ; for instance, "suki--" has a long line indicating a vowel extension because it is taken from the English word "ski". The usual notation is `--' (where the vowel is pronounced flat) whereas `~~' means that the vowel is pronounced rather emotionally. E.g., `kya~~', `ikita~~~~i'. `~ _ (one underscore) signifies a glottal stop or exclamation caused by the use of a kana `tsu' in the original. NOTE: a small `tsu' appearing at the end of a word is basically equivalent to `!'. There are sentences where both a small `tsu' and `!' were used in the same word. ' or - are used to separate the components of a kanji compound. I use this when I feel that it might be instructional. Ex. KOTOSHI -> KO'TOSHI -> KO-TOSHI Dialogue format: ~~~~~~~~~~~~~~~ Descriptions. Speaker: [ action description ] _furigana_ English translation Romaji transcription. Intermediate pronunciations. Further descriptions. Literal substitution. [ or: Alternate translation. ] { Spillover notes. } [ Notes and/or comments. ] The English translation that is shown in the left column is the one that I prefer. Alternate translations are given in the right column. With this format, I have the opportunity to include more than one translation for each phrase. If you can come up with a better translation, then e-mail it to me and I might add it to the others or use it to replace the preferred version. Furigana sometimes give a different pronunciation that what is usual. It gives the author the opportunity to give a double meaning, as the furigana can be unrelated to the usual meaning and pronunciation of the kanji. Example: Kyoko: _hito_ INU In the above example, the kanji's true pronunciation is `inu' , but the furigana tells us that Kyoko actually said `hito' . I use an `intermediate pronunciation' to show when a pronunciation rule was used. This often occurs with numbers. E.g., the original text was written: 99 NEN 7 GATSU 1 NICHI In this case, the `intermediate pronunciation' will show you how to pronounce the numbers: KYUUJUKUU NEN SHICHI GATSU TSUITACHI Notice that certain days of the month are irregularly pronounced. In the literal substitution, I may use the abbreviation "lit." to emphasize that this line gives a "literal" meaning which you wouldn't usually give as a translation (due to its awkwardness). For sentences that are basically the same in both English and Japanese, I didn't give the Japanese version. Ex. Instead of > Godai: > Kanrinin-san? KANRININ-san? I would only put > Godai: > Kanrinin-san? Format for location: ~~~~~~~~~~~~~~~~~~~ The following are used at the beginning of each translated page or panel: p# = normal volume page number PW# = wideban volume page number # = panel number The following are used for other references: p#,# = normal volume's page # and panel #. Unless context indicates otherwise, assume that this refers to the current volume: v3,1. v#,#,#,# = normal volume #, part #, page #, panel # PW#,# = wideban volume's page # and panel # VW#,#,#,# = wideban volume #, part #, page #, panel # A slash (/) separates references to the same subsection. A hyphen (-) indicates a series within a subsection. Examples: p7,3/5/9 = page 7; panels 3,5 and 9 v1,1/6 = volume1; parts 1 and 6 p24,1-4 = page 24; panels 1 up to and including 4 p99,3/5-6/10 = page 99; panels 3, 5 to 6, and 10 v15,1,4,8 = normal volume 15, part 1, page 4, panel 8 v1,9,200 = normal volume 1, part 9, page 200 v3,11 = normal volume 3, part 11 v12 = normal volume 12 VW6,13,310,9 = wideban volume 6, part 13, page 310, panel 9 and so forth, as with the "v#,#,#,#" system. ------------------------------------------------------------------------------ ** ** ** ** ------------------------------------------------------------------------------ Volume 3 - Physical Data: height = 18.0 cm width = 12.7 cm thickness = 1.5 cm total = 230 pages (p226 is the page with the last illustration) weight = 220 grams A detachable glossy dustcover is on the outside. Below that is a softcover. The paper for the body of the book is regular white. ------------------------------------------------------------------------------ ** ** ** ** ------------------------------------------------------------------------------ Along the Spine: #Big S Comics# [ written vertically ] mezon IKKOKU SANNEN MAtte TAKAHASHI RUMIKO 3 [diamond symbol] [ written horizontally ] SHOGAKUKAN (the publisher's name) #BC453# ------------------------------------------------------------ Cover Page: Written vertically: Along right side in blue lettering: mezon IKKOKU 3 Along left side in blue: TAKAHASHI RUMIKO Written horizontally: In bottom left corner: #Big S Comics# Kyoko with brown hair stands holding a bag of groceries. A loaf of french bread, a wine bottle, and an orange poke out of the bag, and she holds a second orange in her right hand. #MAISON# is printed on the grocery bag, and Ikkoku-kan is in the lower part of the light-green background. [ According to surveys, three-quarters of the housewives in Japan go grocery shopping daily--this applies for food such as fish, meat, vegetables and other things which are best eaten fresh--rather than purchase a week's worth all at once. [PASS88] Gack! This is a rather dull cover. I wish Takahashi would draw a detailed color picture for once. The hair colors that you can see on any of the front cover pages rarely stay the same. For the cover pages, Kyoko's hair goes from blue to red to green and so on until the final volume when it turns black. Williamson-san: A "standard" hair color (from rear-cover manga illustrations, not to mention the picture on the inside of v15 with her holding Haruka-chan) appears to be a light to mid-shade of brown. If we assume the picture in v15 is valid, then this makes sense, given that Haruka-chan's hair is also depicted as the same mid-brown color. (Haruka-chan takes after mommy!) Tarigan: If only I could look at the actual story pages that were originally in color. Unfortunately, to do that you'd have to find copies of the original monthly serializations... ] ============================================================ Inner side of dust-cover: I'm not going to translate this--it's pointless, really, because the information here (lists of compilation volumes available for other series) is likely to change from one reprinting to another. ============================================================ Sliding off the glossy dust-cover reveals the soft-cover: The outer side has a textured surface, while the other side is smooth and white. It has the same cover picture as the Cover Page except that the background is white and the only colors used are red (for the lettering and some shading), black (for the outlines), and a light purple (for the rest of the shading). The spine visible here has white lettering on a red background. ------------------------------------------------------------ p1 Glossy color page: Vertically along left side in pink lettering: mezon IKKOKU TAKAHASHI RUMIKO In smaller letters: 3 SANNEN MAtte Holding the leash, Kyoko (this time the hair has black shading with yellow highlighting), wearing a red-striped skirt and a white sweater, walks towards you with Souichiro (the dog) on the left. The background is blank white. ============================================================ p2 [ white ink on a purple background ] MOKU'JI : `" (part,page,title) ____ 1 3 By Your Side ._ anata no soba de or By Your Soba 2 23 He Who Does Not Return KAErazaru KARE return he _____ 3 43 Bet at the Skating Rink! rinku ni KAkero! ._ [ A pun on "ringu ni kakero", a boxing manga by Kurumada Masami. ] `~ 4 63 Kyoko & Souichiro KYOUKO to SOUICHIRO 5 83 Frustration of Family KAZOKU no CHOUSOU family frustration 6 103 Resignation Announcement INTAI SENGEN resign declaration 7 125 I Understand NATTOKU shimashita understanding/compliance 8 145 I Won't Lose!! WATASHI wa MAkenai!! ________ 9 165 Mixed Doubles KON'RAN daburusu or mixed up/confusion Confused Doubles [ The Japanese for "mixed doubles" is actually "KON'GOU [daburusu]" ] 10 185 Wait Three Years SAN'NEN MAtte _____ 11 205 Angry Widow IKAri no uidou Along the left side of the page is a narrow panel showing Kyoko sitting in a swing and looking up to her right (this panel is a copy of what appears on p202/ PW304). Along far left side: mezon IKKOKU 3 SANNEN MAtte ------------------------------------------------------------ [ What happened in the previous chapter: Godai tries to think of what to give to Kyoko for a present, but forgets about one for Kozue. On returning home, having given Kyoko's present to Kozue, he gets further depressed when Kyoko gives him a muffler for present, which she had apparently spent the past three days making. However, Godai manages to find something to give her. Finally, at the ChaChaMaru party, Mitaka and Godai find out that everybody got a present from Kyoko. ] ( Just read my detailed synopsis for episode 18 in the MI Guidebook and you'll know almost everything you need to know about the story of the previous chapter--the anime version was quite faithful to the manga... when it wasn't adding extra scenes to fill up airtime. ) ** ** ** ** p3 PW105 ( In the normal volume, an orange tinting augments what was originally regular b&w artwork. This coloring ends on page 19. The Wideban volume has reprinted these pages in their original plain b&w format. ) Title: #Part# 1 ____ anata no soba de you beside/next to [ The title is a pun: `soba' is a homonym for (position) and (noodles). It refers to where Godai is going to be when he visits Kyoko's room this chapter: he's by her side, and later on, when they've cooked their Toshikoshi Soba, he's going to be by her soba as well. Note: There was no possible way I could think of to translate this chapter's title with a similarly nifty pun. I'll be wanting to see how the official English translation does this title, not to mention the rest of this chapter. Soba is a type of long, brown-grey noodles made out of buckwheat flour. Noodles (both soba and udon [a type of noodles made out of wheat]) were introduced into Japan by Buddhist priests from China in the early ninth century. [FOOD84] Ito-san: I think this title's pun is probably based on the following phrase: Shinsyuu Shinano no soba yori mo atasha anata no soba ga ii I'd like to be by your side rather than by your soba in Shinano state. Shinano state (Shinano no kuni, aka Shinshuu, now Nagano prefecture) is widely known as a good place for producing soba flour. "Atasha" is an abbreviation of "atashi wa". N.B. the phrase follows "shichi-go-chou" ("heptapentameter"). ] Title picture: At the kotatsu a crazed Godai, with blood-shot eyes and fangs, is about to attack Kyoko. Her clothes are already mere shreds as she fearfully tries to escape. [ You think Godai is the kind of guy that would do this? ] Labelled caption at Godai's head: OSOimasu = (I'm) Assaulting `~ Labelled caption at Kyoko's head: OSOwaremasu = (I'm) Assaulted `~ [ SHUU, oso(u) = to attack, to succeed to, to make a surprise visit ] [ Ikkoku-kan (built before WWII) does not have central heating, as is the case with most old houses in Japan. The residents can keep warm, though, by huddling around a kotatsu, or using portable electric heaters and warm clothing in the house. ] ============================================================ p4 PW106 1 Caption: 1981.12.30, Tokyo 81 NEN 12 GATSU 30 NICHI #Tokio# HACHIJUUICHI JUUNI SANJUU It's night-time. 81st year 12th month 30th day We see an overhead | view of the [ By the way, `Tokyo' is spelled as `Tokio' in neighborhood houses. Esperanto. I don't know what romanization system they're using here but in v6,3/ VW4,8 the chapter title has the name #Baachan in Tokio#. Ito-san: It's usually spelled as `Tokyo' today. If it's spelled as `Tokio', it makes us feel somewhat exotic. ] Voice1 (maybe Yotsuya): _kuni_ = Godai-kun, aren't GODAI kun wa INAKA ni KAEranai n desu ka? you going back to rural district return your home town? Voice2 (Godai): I'm going the GAN'TAN no YORU ni KAErimasu yo. -^ evening of New first dawn eve return Year's Day. | [ Near the end of the year, city people migrate en masse to their homes in the country, where the rest of their families and their roots are. The New Year's period is one of the rare times in Japan when one has time to make visits and be with the whole family. 2 The beginning of the year is the time for the Cut to a view of most important national holiday. At this time Godai's room. most people can get five or so days off (by Yotsuya is lying at Japanese standards, this is a long vacation). the hole in the { Ito-san: Yes, by JAPANESE standards... (;_;) } wall, while Godai Incidentally, a little less than half of and Akemi share the Tokyo's population are native Tokyoites. Many futon. have left their families to live and work in Tokyo. ] { Akemi and Godai would not be like this if Kyoko was around. I can't find any scene when they're both in the bed while Kyoko is in the room, except for v8,p129/ VW6,p23 (although that particular scene was a bit accidental). In that scene, Kyoko opens the door to Godai's room and finds them together in the *morning*--she storms off angrily, while Godai tries to explain that it isn't what she thinks it is. The thing that annoys me is that she acts jealous, while refusing to do anything with Godai. Williamson-san: *sigh* A staple for the better part of the series, unfortunately. One is given to wonder why Kyoko was so jealous over Kozue-chan's appearance back in volume 2.... } Yotsuya: What an unloyal OYA'FU'KOU desu na! `~ son! Go home unloyal to parents before the end of | the year! ._ NEN'NAI ni KAErinasai yo. in this year return | [ or: What an unloyal son! Why don't you go before the end of the year? Oakey-san: "Nasai" is a pretty strong command. "Yo" adds still more emphasis. I'd rather not translate it as "why don't you." How about "Go home before the end of the year!" ? ] Godai: _____ Can't be helped. shikata nai desho. OOMISOKA no baito de I need to work on can't be helped New Year's part-time New Year's Eve to | pay for my KAEri no RYOHI KASEgun dakara. return-trip. -^ return trip-money I worked | [ or: Can't be helped. I'll have to get the money from part-time on New Year's Eve to be able 3 to go home. ] Akemi: Didn't you get KISHA CHIN JIKKA kara OKUttekitan ja nai no? train fare from train fare home from sent home? | [ or: Didn't your folks give you train fare? ._ For the sake of literalness: Didn't your folks send you train fare? =~ ] Godai: I used it all up. TSUKAiKOnde shimai mashita. | { This is in reference [ (kane wo) TSUKAiKOmu: to the earring that to spend public money on a private object; he bought for Kyoko to spend important money on a valueless thing. (but ended up giving e.g., KANOJO wa KAISHA no KANE wo TSUKAiKOnda. to Kozue) in the = She abused her company's money. ] `~ previous chapter. } Yotsuya: Don't look for DOUJOU no YOCHI nashi desu na. sympathy here. sympathy scope not =~ | [ or: No sympathy for you. 4 or: There's no one to blame but yourself. ] Akemi: And what about you, YOTSUYA-san wa do--sun no? Yotsuya-san? Yotsuya: I've got a place WATASHI ni wa cha--nto KAEru TOKORO ga arun desu. of my own to I go place there is return to. I'm taking a YASUmi mo torimashitashine. vacation too. vacation too take ._ | 5 [ or: I'm also taking a vacation. ] Akemi: You're always on NEN gara NENJUU YASUnden ja nai no? `~ vacation aren't year in-year vacation you? | [ or: You're on vacation year round, aren't you? =~ ] Godai: What is your job SHIGOTO nanishiten desu ka? anyway? job what | [ or: What IS your job? ] Yotsuya: I'm not telling. OSHIetage masen. [ He never does tell them at any time in the series. ] [ The bag in the bottom right corner has the 6 label: `[pi--nattsu]' ] Yotsuya: By the way, how shikashi, kimi kono KITAna~~~~i HEYA de TOSHI no lonely you are | you this dirty room year that you'll meet | the end of the SE wo mukaeru to wa wabishii desu na~~~~. year in this rapids DIRRRRRTY room. `~ [ TOSHI no SE = the end of the year ] Godai: Leave me alone. hottoite kudasai. ------------------------------------------------------------ p5 PW107 1 Akemi: ______ Reeeally, there ho~~nto terebi mo naishi... isn't even a TV... television too not exist Yotsuya: This room is going SAMUsa ga HONE'MI ni shimiru desho ne~~. to be bone- cold bone'body chillingly cold... 2 Akemi: You got that right. so--yo-- OOMISOKA no KODOKUtte It's *particularly* | alone awful to be alone | on New Year's Eve. ._ TOKUBETSU kotaeruno yo ne. particular/special Yotsuya: Really... iya mattaku... | 3 [ or: Totally... ] `ZU--N', Godai frowns and shields his head against a verbal onslaught. Akemi: Loo--nelyy--. sa~~ bi~~ shi~~ i~~ zo~~~~~. Yotsuya: So-- piti---ful. se~~ tsu~~ na~~ i~~ de~~ su~~ yo~~~~~. 4 Godai: Akemi-san, you're AKEMI-san datte INAKA KAEra nai n desho. not going home | home return either. | [ or: But Akemi-san, you're not going home either. Oakey-san: The "but" adds even more of the whining sound that "datte" usually has. ] Are you in any HITO wo ochikomasete YOROKOberu position to be person happy about making | other people TACHIBA desu ka? depressed? -= standpoint Akemi: Me!? atashi!? 5 Akemi: I'll be watching KANRININ SHITSU de KOUHAKU UTA GASSEN MIrumo~~n. Red and White in | room watch kanrinin's room. | [ or: I'm watching Red and White with kanrinin-san. ] Godai: Eh, with e_ KANRININ-san to!? kanrinin-san!? Yotsuya: ho-- { KOUHAKU UTA GASSEN (aka Red and White Song Contest): This annual TV show is a popular New Year's tradition. Famous pop singers group into two teams, red and white, and compete with songs and comedy acts--female singers belong to AKA-GUMI and male singers to SHIRO-GUMI . `~ Singers go alternately from each team and a group of judges gives points to each contestant. At the end of the contest the winning team is announced. [ Red and white are the two colors used for celebratory occasions. Undoukai (sports day) is one event in which there are two teams, one representing white and the other representing red. The only appearance of Undoukai can be found in v7,3/ VW5,3. `" ] Ito-san: It's unpredictable which team will win. The contents of kouhaku-uta-gassen is one of the main topics people talk about during the new year's vacation. } 6 Yotsuya: Kanrinin-san isn't KANRININ-san wa JIKKA ni KAEranno desu ka ne. going home is she? home return Akemi: I don't know... sa-- tonikaku OOMISOKA wa koko ni irutte. Anyway, she'll be anyway New Year's here here for New Year's Eve. [ Kanrinin-san has been out of sorts with both her parents for a while (parenthetically, she's an `[pari]', Akemi only child); her father was opposed to her munches some food. marriage to Souichiro. So she isn't interested in going to visit them for New Year's. ] `shipa_', Yotsuya opens a beer can. [ Drawing blooper: The door-knob in this panel is on the left side of the door. It should be on the right-side (see p20,9). ] 7 Godai: [ rests his head on his arms and tries to look pitiable ] Lucky... iina---. | [ or: Sigh... ] Akemi: You're envying urayamashii desho. me, aren't you? | [ or: You're jealous, aren't you? ._ ] ============================================================ p6 PW108 1 Godai: [ stares forward blankly ] I sure feel samishii na-- boku. lonely. lonely I | [ Shambaugh-san: `Samishii' is slang for `sabishii'. Oakey-san: Somehow, I want to preserve the stilted word order. How about "So lonesome. Me, I mean." ? Tarigan: In that case, I could try "So lonely... I am." ] Akemi: What a rotten KIMOchi WARUi wa ne--- AMAttareta KOE DAshite. `~ feeling. You sound feeling awful sweet like a spoiled | child. ._ [ or: I feel terrible... when you whine like that. ._] Yotsuya eats a peanut. 2 Akemi: You want to join us? anta mo KItai? `~ =~ you too want to come Godai: | [ turns to face her [ or: You want to come along? ] excitedly ] Eh, it's okay? e_ iino? iino? | 3 [ or: Can I? It's OK? ._ ] Akemi: [ reaches out to grab a beer can. ] It'll be better NINZUU OOi HOU ga KEIKI ii monne `~ with more people. number of people plentiful times good | Godai: [ or: The more the merrier. ._ ] [ smiling ] That's right. so--da yo ne_. Yotsuya sips some beer. [ Tarigan: I asked Shambaugh-san to decipher the writing on those beer cans. Shambaugh-san: The writing on the cans looks unintelligible to me - "Can" it :-) She [Takahashi] usually uses real brand names 4 like Asahi, though. (Verisimilitude etc.) ] Caption: The morning of Akemashite OOMISOKA New Year's Eve. dawns The Last Great Day or New Year's Eve | [ Ito-san: We say "akemashite omedetou" to each other when we meet family, friends and acquaintances for the first time Kyoko: during about a week since the New Year's Day. [ standing on the front This line must be a pun. Perhaps it means lawn, holds the broom ] "The day broke and it's the New Year's Eve." ] Godai-san is GODAI-san mo irassharun desu ka. coming too? too come 5 Akemi: [ wearing a happi coat ] Is that okay? ii deshou? [ A `happi' coat is a workman's garment. It's also used as a kind of dressing-gown. [EDAY88] ] Kyoko: I don't mind. kamaimasen yo, nigiyaka na HOU ga TANOshii desukara. It'll be more fun | lively more fun so... that way. | [ or: I don't mind. The livelier it is, the more 6 fun it will be. ._ ] Godai: [ jogging out, he stops to greet them ] I'm leaving baito Ittekima--su. for work. =~ part-time leave | [ or: I'm going to part-time. or: I'm going to my part-time job. `' ] Kyoko: Hai, do your best. hai, ganbatte kudasai ne. Work hard/ good luck. 7 Godai: ____ So, I'll be there ano, kuji GORO soba MOtte ukagai masu. `~ with the soba | 9 o'clock around have visit at around nine. | [ or: Ano, I'll be over with the soba at around 9 o'clock. or: Well, I'll come by with the soba around 9 o'clock. ] ____ _____ I'm working at a sobaYA de baito nande. soba store. [ Not bad, he's going to visit Kyoko's room for almost three hours (until close to midnight). ] Akemi: ____ Great! Freebie kya_ kya_ TOSHIKOshi soba mouke. Toshikoshi soba. | [ or: Alright, freebie soba! ] Kyoko: Thank you very much. TASUkarimasu wa. | { Toshikoshi soba: [ or: That's a great help. ] Toshikoshi means `seeing out the old [ Godai's job is delivering soba. The word `DEMAE' year and seeing in refers to the system of delivering food to your the new'. This is door. The deliverers used to be acrobatic and eaten late on New carried their packages stacked up one on top of Year's eve to see the other from their shoulders while riding out the old year. their bikes, but nowadays they're more likely to The long strands of carry their goods on the backs of their bicycles soba symbolize long or motorbikes. In addition, they use a special life. [LOOK89] } box that prevents the soba from spilling out of their bowls. [LOOK89] [FOOD84] ] ------------------------------------------------------------ p7 PW109 1 [ Notice that Kyoko's broom has shrunk. On p6,5 Yotsuya: the broom reached from her head down to her [ arriving with a duffle feet; but in this panel, the broom only bag and wearing a reaches down to her knees. (Yes, I'm being trenchcoat and fedora ] very picky about the artwork.) ] Wait up, Godai-kun. GODAI-kun soko made ISSHO ni Ikimashou. Let's go together. | together let's go | In the background, [ or: Oh Godai-kun, I'll leave with you. ] Souichiro sits placidly in his [ In this panel, from the post, there is a dark doghouse. The post line representing the dog's leash. But on p6,5 (from which the I can't find any sign of a rope. An even worse leash is tied) drawing gaff is on p68,1/PW170,1 where that post is to the left is to the RIGHT of the doghouse. I doubt that of the doghouse's someone in the story would go to the trouble of entrance. shifting its position. ] 2 Yotsuya: [ he tips his hat off ] Kanrinin-san, have KANRININ-san yoi oTOSHI wo. a good year. Kyoko: Hai, see you. hai Itterasshai. lit. go and come back 3 Godai and Yotsuya [ This's the last we see of Yotsuya until walk away. v3,4/VW2,9 when he's the first to discover that Godai has smuggled in a cat. ] Akemi: I wonder where doko ni KAEruno kashira nee. he's going back where return to? Kyoko: I don't know... saa 4 Kyoko prepares some [ Shambaugh-san: Foods that traditionally go in boxed food at the such boxes are noodles or sushi (which is kitchenette in her usually ordered out and not prepared at home) room. or "picnic" foods, since they are used as traditional picnic basket type things. ] { Around the kotatsu are four ZABUTON . You don't use chairs in a tatami room. The word `ZABUTON' is formed out of the kanji `ZA' combined with `FUTON'. It's more common, though, to see futon and zabuton written with kana rather than their kanji counterparts. } TV: _____ This year, again, KOTOSHI mo koko, ameya YOKOCHOU Ameya Yokochou is this year too here side street jammed with | shoppers... ._ wa KAiMONO KYAKU degottaGAEshite... | shopping guest/customer is in a mess/confusion | 5 [ or: This year, again, Ameya Yokochou is all in `[kon kon]', knocking a mess of shoppers... -^ at the door. Oakey-san: For some odd reason, I want to suggest a Voice (Ichinose): poetic reference and put it this way: [ from outside the "...the street is a madding crowd." room ] Ito-san: Ameya Yokochou (abbr. Ame-yoko) is a famous Kanrinin-san!? shopping mall in Ueno, Tokyo. People can buy various goods there at a cheap price, Kyoko: especially in the end of the year. I guess the [ turns her head to name Ameya comes from that imported American look ] goods were sold there right after WWII. ] Yes? hai. 6 Ichinose: [ at the opened door, with Kyoko ] Ja, we'll be going ja, chokkura INAKA ni Ittekuru yo. back. | hometown going | [ or: Well, we'll be going back home. ] Kyoko: Yes, you'll be hai oKAEri wa 4 NICHI deshita ne. back on the 4th, | YOKKA won't you? | return 4th day | 7 [ or: Hai, you'll be back on the 4th, aren't you? Kentaro: Note: regarding `YOKKA', see the note on p11,1 ] [ down by the telephone ] Hurry up, Dad! to--chan HAYAku shiro yo. dad hurry Ichinose: [ waves goodbye ] Ah, no need to see a, MIOKUri iikara. us off. see off [ Because Kyoko doesn't escort them to the entrance, she doesn't see Ichinose's husband. This sets things for a much later chapter when Kyoko and Godai finally realize that he exists (see v7,2/ VW5,2), and then Yotsuya and Akemi meet Mr.Ichinose for the first time (see v7,3/VW5,3). ] Kyoko: Have a good year. yoi oTOSHI wo. good year to you 8 `[patan]', Kyoko [ On the calendar above the telephone, for the closes her door. month of December, there is a picture of a snowman. ] Kyoko: Well......... sateto......... Cooking and oRYORI mo OOsouji mo sundashi... cleaning left to cooking big clean up do... ============================================================ p8 PW110 1 Kyoko presses her [ `GASSHOU' is the Buddhist palms together and gesture of raising the hands palm to palm to sits in prayer, with show respect, thankfulness and/or humility. her eyes closed. [EDAY88] ] Kyoko: Souichiro-san, SOUICHIRO-san nantoka KOTOSHI mo BUJI another year has | this year no problem gone by | peacefully. ._ ni sugosemashita. | [ or: Souichiro-san, this year has gone by peacefully. ] From now on too, korekara mo WATASHI wo MAMOtte kudasai. please keep on | too I protect please protecting me. | [ or: Continue to protect me, please. ._ ] [ In Japan, Buddhism is generally used in reference to the afterlife. The other major religion, Shinto, is more concerned with the here-and-now. In this way, the two religions 2 complement each other such that more than half `RI--N', the population follows both at the same time. the phone rings. In the Japanese version of Buddhism (few things enter Japan without becoming Japanized), 3 it's believed that spirits continue to remain Kyoko: after physical death. At visits to the grave, [ standing at the one offers food and drink as if the person was pink phone ] still alive. ] Hello? This is moshi moshi IKKOKU-KAN Ikkoku-kan. | [ `Moshi moshi' is used for telephone situations. This is much like in French where `allo^' is used on the telephone while `salut' (or some other stock phrase) would be used in face-to-face greetings. ] Yes, one moment hai SHOUSHOU oMAchi kudasai. ._ please. ._ | little wait please | [ or: Hai. Just a moment, please. Note: The second character in SHOU-SHOU is an ODOriJI (a special type of character that lacks a pronunciation of its own but indicates that the previous character's pronunciation should be repeated). Other examples would be CHA-CHA (taken from the name CHA-CHA-MARU), HITO-BITO and TOKI-DOKI where the second character is an Kyoko goes to her odoriji. Notice that sometimes the second room as Akemi takes character's pronunciation becomes voiced. the receiver. There is one odoriji that is only used with kanji and another odoriji is used only Akemi: for kana. ._ [USAG91] ] [ at the phone ] Hello, it's me! moshi moshi atashi! Whadya want?!! dou shita n!! | [ or: What do you want!! 5 Note: Doushitan is a shortened version of Akemi: `dou shita n desu ka' ] [ her face lights up ] ____ Ehhhh, Ski!? e~~~~_ suki--? | [ I just love how weird this transcription method looks ^_^ ] Voice (on telephone): There's only one hitori KETSUIN ga DEchautanda! KIPPU wa anno yo! ./ place left! And | vacancy ticket there's a ticket | for you! ./ [ or: There's one who's cancelled! So I have another ticket! ] `~ 6 Akemi: Kyaa, I want to go! kya~~~~_ Ikita--i. Voice (on telephone): Ja, it's decided! ja, KImari ne! UENO ni 6 JI SHUUGOO!! Let's meet at Ueno ROKUJI at 6 o'clock!! decided at 6 o-clock meet 7 [ Ueno station is the main point of departure in `kya_ kya_', Akemi Tokyo for anyone leaving to the northern parts happily anticipates of Japan. In the skiing season it's common to the outing. see skiers camped out by the thousand at these _____ stations in order to get a seat. ] `kacha', she hangs up the phone. 8 ...but then realizes... Akemi: Ah, oh no. a, ikene. 9 At the door to Kyoko's room, Akemi talks with Kyoko. Kyoko: ____ Eh, you're e_ suki-- ni......... skiing......... Akemi: Yup, with my un, TOMOdachi to... friend... 10 Akemi: But, that's bad demo yappari mazui yo ne. isn't it? but unfortunate | [ Shambaugh-san: `mazui' also has a second meaning of `bitter'. ] You'll be all GODAI kun to futarikkiri nisuruno wa... alone with with alone Godai-kun... `ha_', and a bead of sweat forms on Kyoko. She looks downwards, remembering about tonight's appointment. ------------------------------------------------------------ p9 PW111 1 Akemi: [ having seen Kyoko's reaction ] ____ So I can't go yappa suki-- KOTOwaruwa. ,- skiing after all. | ._ | [ or: So I guess I can't go ski. ] Kyoko: Eh? e? 2 `ha--', Akemi starts walking away dejected. Kyoko: [ looks worriedly at her] Akemi-san...... 3 Kyoko: ____ You want to ski suki--, Ikitai n desho. don't you? want to go Akemi: Yeah, sure. But will sorya ma-- ne. demo yappari sa--...... you be okay?...... 4 Kyoko: Go ahead. Itterasshai. see you Akemi: But... demo-- 5 Akemi: It's the danger of TEISOU no KIKI yo. your virtue... chaste/virtue crisis | [ or: Your chastity is at stake. ._ Note: Yack, I still can't think of a good translation for this line. ] Kyoko: No way! You're masaka! KANGAesugi desu yo, AKEMI-san. being too | think much suspicious, | Akemi-san. [ or: No way! You're overthinking, Akemi-san. or: You're imagining things, Akemi-san! =~ ] 6 Akemi: [ scratches her head ] Really, it'll be HONTO ni DAIJOUBU ka na--!? okay!? I wonder. | okay ._ | [ or: Really, you'll be okay!? Oakey-san: Because Akemi is looking away from Kyoko at that moment, it might be better to translate it as "it'll" instead of "you'll". ] Kyoko: You should have motto GODAI-san wo SHINYOU shite agenakucha. more faith in | trust Godai-san. ._ | [ or: You should trust Godai-san more. ] 7 Akemi: [ `niko_', sound effect of a smile ] That's true. sou ne. Kyoko: [ `niko_', also smiling ] Really. sou desu to mo. | 8 [ `to mo' ends a sentence with an air of finality. Akemi: [USAG91] ] [ back in high spirits ] Ja, then I'll be ja, HAYAku shitaku shinakucha. going soon. soon `pata pata', sound of footsteps as she leaves. 9 Kyoko: [ trembling, prays with her hands clenched tightly ] Souichiro-san, SOUICHIRO-san, please protect me! | douka WATASHI wo oMAMOri kudasai. { Kyoko is quite | I protect unselfish and willing | to sacrifice herself [ Irrelevant language note: The word `omamori' so that other people used in Kyoko's line above is the same word as are happy. But really, that which refers to the Shinto talisman, it isn't THAT bad to `omamori'. It's a sort of goodluck charm with be alone with Godai, a kanji inscription. ] or is it...? Williamson-san: Kyoko is unselfish to the point of martyrdom; she ate takoyaki and taiyaki on a full stomach...not to mention Godai's ramen (see v2,9/VW2,3). This line also suggests Kyoko has some idea of Godai's hentai nature. Strange woman, jealous one moment, nervous the next. :) } ============================================================ p10 PW112 1 It's night-time. Bathhouse Sign: "Nezame Bath" nezame YU to have a guilty conscience (!) hot water ./ Neighboring sign on the left: ____ ________ "Coin Laundry" koin randorii Kyoko: [ leaving from the [ She's carrying a plastic SENMENKI . ] SENTO ] (Ahhh, what to (a--, doushiyou.........) do.........?) 2 Kyoko: [ walking down the street ] (At any rate, I'd (tonikaku MYOUna FUN'IKI ni naranai you ni) better make sure | we don't get into (SEI'IPPAI DOU'RYOKU suru hoka nai wa ne.) -= any strange mood.) energy full exert much | [ lit. At any rate, there's nothing but to exert my utmost effort so that it doesn't turn into a weird atmosphere/mood. -= ] 3 Godai happens to be [ In 1990, there were about 2000 public bathhouses going to the in Tokyo. This is in contrast to the over 20 000 bathhouse... bathhouses that used to be there. Now that almost all new houses have their own baths, Godai: bathhouses are struggling to find their own [ he notices her ] niche. Some diversify and try to provide Kanrinin-san... additional services. The others close down... [FROM90] ] Kyoko: Ah. a < an expression of surprise > [ To fans of "Ah! Megami-sama": I could 4 alternatively translate "a" to "Oh". ^_^ ] Godai: Eh? Akemi-san are, AKEMI-san ISSHO ja nakattan desu ka? isn't with you? together Kyoko: N- no... e_, ee... | 5 [ or: Th- that's right... ] Kyoko: (Should I tell (Iubeki ka na... inaitte koto......) him...? That she should tell not there won't be there......) 6 `su--', Godai breathes [ `su' signifies an intake of breath. in the smell... Notice the similarity of this sound effect to `zu' (see p19,4), which is a sound Kyoko looks at him, representing, among other things, the wondering what he's slurping of noodles. Both `su' and `zu' doing. involve an intake of air. ] 7 Godai: Ah. a Smell of soap sekken no KAOritte ii desu ne----. is sure nice, soap aroma good isn't it? Kyoko: I'm just back from oFURO KAEri desumono! the bathhouse! bath return | 8 [ or: I'm just returning from the bathhouse! =~ ] They go off on their respective ways... Godai: Ja, I'll see you ja, ato de ukagai masu. later. visit Kyoko: O-, okay. ha, hai. ------------------------------------------------------------ p11 PW113 1 Kyoko: [ walking away ] (Maybe I'm just being (WATASHItte ISHIKI shisugiru no kashira.........) too worried.........) I thought Godai: [ looking at Kyoko leaving ] (Wet hair is sure (ARAiGAMItte IROppoi na...) sexy looking...) washed hair sexy | { In this panel, the [ or: (Washed hair is sure sexy...) ] view of the pattern on Godai's muffler [ Oakey-san: Won't Kyoko catch cold? With all is large enough to that wet hair on a cold winter's night? see. Notice that Their breath is fogging up, it's so cold. this is the muffler Tarigan: Actually, the bathwater is about that Kyoko gave to 42 degrees centigrade, which will make you him as a Christmas toasty warm. After soaking in it, you'll present in v2,11/ VW2,5 stay quite warm for hours afterwards, so a (the chapter before short walk home won't leave you cold. this one). } The water is so warm in Japanese baths that if you stay too long, you're likely Unimportant signboard to faint (Godai does this in v11,5/ VW7,16). to left of Godai: (5) ] We are really MAKOTO ni KATTE nagara ICHI, NI, sorry, but we are TSUITACHI, FUTSUKA, closed on (Jan.) sincerely wilful while 1, 2, 1st, 2nd and 3rd. | Katou's Store `~ SAN NICHI YASUmasete itadakimasu KATOU SHOUTEN `~ MIKKA please receive store { By Godai's head 3 days vacation is the bottom | of a sign; the [ Because the days of the month are irregularly single large pronounced, this line was a bit tricky: in the kanji, partially phrase `...nagara ICHI NI SAN NICHI visible, means YASUmasete ...' the kanji and kana that were `store' and is used are shown using a naive pronunciation. pronounced as Ito-san tells me that this is the real story: `TEN'. It might 1, 2, 3-nichi (they ARE written this way) be part of the name 1-nichi, 2-nichi, 3-nichi `KATOU SHOUTEN'. } (they originally have to be written this way) Tsuitachi, futsuka, mikka (is the pronunciation) Tarigan: So to continue... Here is a list of the days of the month which are irregularly pronounced: tsuitachi = the 1st youka = the 8th futsuka = the 2nd kokonoka = the 9th mikka = the 3rd touka = the 10th yokka = the 4th juuyokka = the 14th itsuka = the 5th hatsuka = the 20th muika = the 6th nijuuyokka = the 24th 2 nanoka = the 7th Godai: For the other 18 days that are possible, form [ smiles in the names by combining the usual number with the anticipation ] word `nichi'. Ex. the 27th = nijuushichi nichi. ] It'd be great if kore de futarikkiri dattara SAIKOU nandakedo naa...... we were alone | two together best together...... ._ | [ or: It'll be the best if we're alone together... ] 3 Daydream mode...! [ Oakey-san: Daydream mode and reminiscence mode both use rounded rectangles around the panels Sitting at the instead of the usual sharp-corner rectangles. ] kotatsu with Kyoko, Godai holds her hands. Godai: [ looking into her eyes ] It was my dream OOMISOKA wo futari dake de to spend New Year's New Year's Eve all by ourselves Eve just by ourselves. | ./ sugoserunante YUME no you desu. ./ to spend dream | [ or: It's like a dream that we can spend the New Year's Eve alone. `~ ] Kyoko: I knew it would be konna koto mo aroukato OMOtte oFURO like this, so I | thought bath took a bath. ni haitte kimashita. | did 4 | Godai moves onto [ lit. I thought such an occasion like this Kyoko who's lying on might happen, so I took a bath. `~ ] her back with her eyes closed. Godai: Kyoko-san, KYOUKO-san yoroshii desu ka? may I...? ._ | [ or: Kyoko-san, is it okay with you? ] Kyoko: Please. douzo. | [ `Douzo' = as opposed to `O-negai shimasu' = ] 5 Daydream mode off! [ Oakey-san: Yow! Godai! What a daydream! ] _____ `KA--N', his head [ At the left is part of a sign: `[dorii]' (which crashes into the is the bottom part of the name, `[koin randorii]' wall at the ). Written adjacently are the entrance of the arabic numbers, `10:00 - PM 11:00'. What was bathhouse. probably cut off was an `AM' right above the `mishi_', the wall number `10:00'. ] cracks and bits of plaster fall out. Two people nearby look at Godai. 6 View of the entrance [ Those two decorations, one for each door, are of Ikkoku-kan. shimekazari: a traditional New Year's decoration, based on Shinto. The crops of the harvest are offered to the gods in thanks and to pray for { Shimekazari and good harvests in the coming year. Pieces of red other decorations and white paper hang from it. The prawn, also would probably be used as part of a shimekazari, is a symbol of a burned during the prayer for longevity (the Japanese word for New Year's Fire prawn literally means `old man of the sea'). Festivals which Some of the other parts of the shimekazari occur between the (which may or may not be included) are seaweed, 14th and 16th of oranges, ferns, lobster and dried persimmons, January. } which symbolize justice, long-life, unity or wealth. [LOOK89] ] ============================================================ p12 PW114 1 Kyoko's sitting at the kotatsu, knitting... Kyoko: Welcome. irasshai. | Godai: [ or: Hello. ] [ entering the room ] I'm here. oJAMAshimasu lit. I'm going to disturb you 2 [ and he wants to, too ] Godai: | [ carrying three boxes ] [ or: Good evening. ] ____ Here, Toshikoshi Hai, TOSHIKOshi soba 3 NIN MAE. soba for three. SANNIN 3 people Kyoko: Ah, A, doumo......... thank you......... { The cylindrical container on top of the soba boxes has the writing: "me n tsu yu" tsuyu = Shambaugh-san: The word is "men-tsuyu" where "men" is the generic word for noodles (it is the last part of "somen," "ramen," etc.). In Chinese we know this word as "mein" (chow-, lo-), and it is also generic for "noodles." Chen-san: the proper Chinese phonetic spelling of `mein' with indication of tone is "mian4". } 3 Godai: Where's Akemi-san? AKEMI-san wa? Kyoko: __ __ Would you like ko--hi-- ni shimasu? oCHA ni shimasu? coffee? How about tea? [ Williamson-san: Ducking Godai-san's question rather nicely, isn't she? ] [ Amusingly, there are some parallels to a later chapter when Kyoko is alone with Godai at a ryokan (v11,5/ VW7,16). Godai wakes up from his fainting spell and, extremely flustered by the recent happenings, he hurriedly excuses himself and turns to run out of the room. Kyoko asks him 4 to stay by asking him if he wants some... tea. ] Godai: __ __ Coffee ko--hi-- wo...... please...... So, about AKEMI-san wa? Akemi-san? | [ or: What about Akemi-san? `' or: Where's Akemi-san? `' ] Kyoko: How much sugar? oSHATOU ikutsu? sugar | 5 [ or: Would you like sugar with that? ] Godai: One please. hitotsu. Kyoko: Right. hai. She adds a teaspoon of sugar to the cup. 6 Godai looks at Kyoko, [ Maybe she should ask: while she sweats over "How about some tea biscuits?" ] what to say next. 7_____ `RI--N', phone rings 8 Kyoko goes to the phone. Godai looks over his shoulder at her. Kyoko: Hello? moshi moshi. Telephone voice: Ah, Kanrinin-san!? a, KANRININ-san!? atashi AKEMI. It's Akemi. me 9 Voice (Akemi): I'm calling from IMA, RYOKAN ni tsuitatoko. the inn now. `' | [ or: Now, I'm calling from the ryokan. ] Is Godai-kun there? GODAI kun soko ni iruno? there Kyoko: Y-, yes.... e, ee.... { Oakey-san: [ A ryokan is a luxurious Japanese style inn with Maybe picking a traditional accoutrements: the rooms' floors are word like "inn" covered with tatami mats, some of the walls are would imply that made out of paper and there is usually a it's different than tokonoma in one of the a hotel. Picking a wooden walls. The service is quite personalized, word like "resort" but some ryokan aren't as good as others, of would give a course. stronger sense of luxury, which would See v11,4/VW7,15 for an example of a good-quality make plausible the ryokan (the one where Kyoko goes to); for a lie Godai implies run-down ryokan (the one where Godai stays at), later that "I want see v11,3/VW7,14. One more ryokan, a mid-quality to go skiing where one, is in v8,1/VW5,11 when a group of the cast Akemi is staying." } goes to an `onsen' . ] ------------------------------------------------------------ p13 PW115 1 Voice (Akemi): Wait, let me talk chotto DENWA kawatte. to Godai. little phone switch Kyoko: Eh? e_? 2 Voice (Akemi): I'd better tell kuregure mo HENna KI okosanai you ni KUGI him not to try | strange anything wierd. | sashite agerukara. | [ lit. I'll warn him never to be in a dangerous mood. Kyoko: Note: [ looking rather KUGI wo sasu: to warn someone previously not panicked ] to do an annoying thing. ] `~ Bu- but nothing's so, sonna HITSUYOU arimasen_!! DAIJOUBU desukara. going to happen!! | necessity So I'll be okay. | [ or: Bu- but there's no need for that!! 3 I'll be okay. ] Voice (Akemi): Well, if he tries moshimono TOKI wa OOGOE de wamekunoyo, ii? anything, scream big voice shout good as loud as you can, okay? Kyoko: D-, Don't be so so, sonna UTAGAtcha ikemasen yo. suspicious! suspect 4 `[chin]...', Kyoko [ Drawing blooper: The door-knob in this panel is hangs up the phone. on the left side (this mistake is repeated on p16,7 and p17,6). On all the other panels where kanrinin-san's room appears, that knob appears on the right (or correct) side! You can even see this on the previous page: p12,7. ] 5 Kyoko: (Well, I'd better (souyo SHINYOU shite agenakucha......) trust him......) yes trust give But you can see her sweating... 6 Kyoko: [ `niko_', nervous smile ] Akemi-san won't be AKEMI-san BUJI, RYOKAN ni tsukimashitatte. here, she's at an inn. inn Godai: Eh? An inn, you e? RYOKAN-tte......... say.........? 7 She sits down at the kotatsu. Kyoko: ____ She went skiing. suki-- ni Ittandesu yo. HANAshimasen deshitakke? Didn't I tell you that? went tell Godai: That's the first HATSU MIMI desu yo. I've heard. first hear 8 Godai: I, I see...... so, sou desu ka...... Akemi-san won't be AKEMI-san inai n desu ka? here, will she? | [ or: So Akemi-san won't be here? ._ ] Kyoko: That's right...... ee...... They nervously look down at the table. ============================================================ p14 PW116 1,2 Godai sneaks a look at her, while she continues to look downwards. 3 Godai: [ `niko_', smiling ] Ju- just us fu, futarikkiri nante......... two......... Lonely... isn't samishii desu ne. it? [ slang for `sabishii' ] | [ or: Sure is lonely isn't it? ] Kyoko: Really. HONTO desu ne. | 4 [ or: Isn't it? ] Godai: (We're alone......) (futarikkiri......) Kyoko: [ turns to watch TV ] Ah, it's started. a, HAJImari mashita yo. KOUHAKU UTA GASSEN......... The Red and White start past tense Contest......... 5 Godai: [ his face contorts into a determined expression and beads of sweat appear. ] ______ (It's my (chansu da......) chance......) (If I do it now, no (IMA nara NAko-- ga wameko-- ga JAMA wa hairan.) one would hear her now cry shout trouble shout or scream.) | [ or: (If I do it now, there won't be a problem if she cries or shouts.) -^ ] { Williamson-san: Is it me, or is Godai's behavior a little beyond the pale in this chapter? Sure, he's been forward with Kyoko before, but this is a far cry from the Godai who was with Kyoko on the failed date (Ma Maison/ Mamezou [from v3,9/VW2,1] ). There, he tried to take advantage of the situation, but wasn't thinking about attempting rape. (Or am I missing some of the manga nuance from that earlier chapter?) Mo... anyway, it just doesn't seem "right" for Godai. Tarigan: I concur. When I saw this story for the first time (it was the anime version) I was turned off by this strange, abrupt change in Godai's attitude. I had not gotten the impression that he was that kind of guy. Maybe the author was just pushing things for laughs. In no other chapter does Godai try anything as extreme as in this one. [ I'm missing the two normal volumes that follow volume 3, so I don't know if Godai continues with this nasty attitude any time soon. However, by looking at the anime version, Godai seems to have acquired enough sense not to try taking advantage of Kyoko like this. ] Williamson-san: That's about all I can think of, too. Early in the series; radical character shift... must've been a dry month for story ideas. :) In American comics, this is usually called "Assistant Editor's Month". *grin* Tarigan: Then again, this is the first time that he's *really* alone with Kyoko. Williamson-san: Compare this with the (admittedly later) part of the series, where Kyoko vacations after both Godai and Mitaka give her the brush-off ("Chase after me, Godai-kun!..." in the anime). When Godai and Kyoko meet at the hot spring, and he's alone in her hotel room, he's almost, well, *bashful* in his hesitancy around her... whereas Kyoko's reaction to his *not* being hesitant would probably have been less violent than usual. (I don't know if that last sentence makes any sense to you....) Tarigan: Now, back to your regularly scheduled translation... } 6 Godai: ...... TV: I swear I will se-- se-- do-- do-- to tatakai nuku fight it out fair | fight and square. -= | koto wo chikai ma-- su- | vow | [ `nuku' (added to some verbs) adds the idea of seeing something through. In this case, `tatakai nuku' means `fight to the bitter end'. [USAG91] ] 7 `soro soro', his right [ Oakey-san: `soro soro' could be translated hand edges over to loosely as `slowly slowly'. ] Kyoko's hand, while her attention is focused on the TV. 8 `SO---', almost [ Oakey-san: Likewise this could be translated as touching... "slo--" implying that only half a sound effect and half a move occurred. ] ------------------------------------------------------------ p15 PW117 1 `KURU', Kyoko turns her head to look at him. `sa_', he grabs a [ `sa_' is the sound of a sudden movement. ] nearby mandarin instead. Godai: Ah, I'll have a a_, mikan itadakimasu_!! mandarin!! will receive 2 Godai: ______ Yaa, a TV set's iya-- terebi tte ii desu ne--. sure nice to have. good Kyoko: Are you planning KAu YOTEI nai n desu ka? to buy one? buy schedule 3 Godai: [ eating a piece of mandarin ] _____ Maybe I'll buy baito de KAtcha ou ka na. one with my part-time buy part-time money. | [ or: I should buy one with my part-time money, maybe. Note: the `-tcha' in `KAtcha' is a contraction of `-te wa' (a conjunctive particle). [USAG91] ] Kyoko: ______ Really, it's more yappari terebi atta HOU ga TANOshii desu yo ne. fun to have a TV. | fun | 4 [ or: It is more fun to have a TV, after all. ] Kyoko: Ano...... can you ano...... soko kara yoku MIemasu? see the TV okay there from good see from there? Am I blocking the atashi JAMA ja arimasen? view? I inconvenience Godai: It's okay. DAIJOUBU desu yo. 5 Kyoko turns to watch TV. `GUBIBI_', Godai's jaw trembles. Godai: ______ (Hell with the (terebi nanka do--demo ii n ja............) TV............) television 6 Godai: (N-, Now......) (i, IMA da......) (It's my (IKKI ni......) chance......) chance ============================================================ p16 PW118 1 Kyoko: _____ __ (The volume is a (boryu--mu CHIIsai na......) bit low......) volume small Godai: [ moves in slightly, with his hand near her ] (Now's my chance (IKKI ni OshiTAO...) to grab her...) chance push down from behind -^ | 2 [ or: (Rush up and push her down...) ] `HYOI', Kyoko moves forward to reach the TV set and simultaneously Godai charges in to where she isn't. `DOTE', he crashes to the floor. 3 She looks behind at Godai. `sa_', Godai is again sitting at the kotatsu trying to look innocent. 4 Kyoko goes back to her seat and watches TV. Godai: (I'll grab her hand (SHITA kara TE o nigitcharu...) from underneath...) under from hand 5 `sorosoro', Godai sneaks a hand under the quilt. 6 `[GASA GASA GASA GASA]', crinkling from under the kotatsu. Godai's eyes open wide in surprise. Kyoko: Oh! a | [ This interjection is an expression of surprise. 7 [USAG91] (Okay, so I'm stating the obvious...) ] Kyoko: _______ I forgot. I put WASUreteta kotatsu no NAKA ni osembe the rice crackers forgot center at crackers under the kotatsu. | Iretoitanda. `[GASA GASA]', she put in pulls out a loosely folded wrapper. [ Art blooper: in this panel, the doorknob is on the left side; it should really be on the right side. ] [ Osembe -> sembei : wafers made 8 out of rice flour. It's a traditional Japanese They munch on the snack. The production of sembei, begins with crackers. glutinous rice: grind it, steam, flatten, cut into shapes, dry, and roast. While they're being Kyoko: baked, they're coated with shoyu . Some crackers are wrapped in dried NORI crunching sounds ] . ] They'll lose koushi toku to SHIKKE ga nukete oishi n moisture and taste | moisture delicious better that way. desu yo ne. | [ or: They'll get dried up and taste better that way. Chen-san: Rice crackers should be crispy. However, Godai: during storage they absorb moisture quickly [ `bari bari bari...', and become a bit rubbery or soggy, which is a different sort why you never want to leave a bag open for of munching, maybe very long (say a few hours) unless you plan to grinding his teeth eat them all. Kyoko is trying to remedy this harder ] by re-baking them with the heater. ^' ] I see... naruhodo... 9 Kyoko: [ stands up, pulling up her sleeves ] ____ Well, I guess I'll sa, o-soba no SHITAgoshirae demo shou kana. start the soba. Godai: Ah, I'll help you. a, boku TETSUDAi masu. I help 10 Godai stands up behind her. Kyoko: [ putting on her apron ] ______ Why don't you ara, terebi MIte te kudasai na. watch TV, please. TV watch Godai: I don't want to be ie, oJAMAshiterun desukara. a nuisance... no be a bother so lit. (I must help you) since I've rushed into here. `~ | [ or: I'd be a bother if I did. -^ ] ------------------------------------------------------------ p17 PW119 1 Kyoko: Don't worry about it. nani mo suru koto arimasen yo. Godai: But...... demo desu ne--...... 2 Godai: [ looking at her back ] ...... ...... `JIWA JIWA JIWA', Godai edges in closer to her, and looks at her evilly. `ton ton', sound of chopping. 3 Kyoko: [ chopping some food, not noticing that Godai is right behind her ] _______ Well, would you soreja donburi DAshitoite kudasai. get the bowls please? bowl pull out 4 `[ton ton]', cutting. Trembling nervously, Godai approaches closer, his hands about to grab her shoulders. [ Godai-kun, you nincompoop! If you're going to attack a woman, don't do it 5 when she's holding a knife! ] She turns to look and Godai quickly starts marching away. Kyoko: _______ Uh... Bowls, ano... donburi...... please...... Godai: Yes! hai_!! 6 Sitting stiffly at [ Art blooper: in this panel, the doorknob is on the the table with Kyoko... left side; it should really be on the right side. ] Godai: (Oooo shi--t) (u~~~_ kuso~~~) `kopo kopo', Kyoko [ The kotatsu has been cleared away of everything pours tea into a cup. except for the cup. ] 7 Kyoko: Here, tea. hai oCHA. She offers the cup to Godai. 8 Kyoko turns her head to watch the TV. `sa_', Godai reaches forward to grab the cup... and hopefully her hand. `sa_', she withdraws her hand just in time, even though she isn't looking. 9 Godai: [ grimacing as the hot cup burns his hands ] (Ouch...) (achi...) | 10 [ `Achi' is the expression used when `soro soro', he you're hurt by something hot. For reaches around the other kinds of pain, a Japanese would kotatsu towards her say `itai' or `itee' . ] waist. ============================================================ p18 PW120 1 `[RI---N]', the phone rings. `Sa_', Godai quickly withdraws his hand as Kyoko turns to stand up. Kyoko: Oh, who could it ara DARE kashira IMAGORO... be now...? who about now 2 Kneeling at the telephone. Kyoko: Oh, Ichinose-san. ara, ICHInoSE-san. ____ Yes, the gas valve. -^ e_ gasu no MOTOSEN. `~ Godai angrily slumps against the kotatsu. { Melanson-san: Japanese houses have little flash heaters for hot water instead of one central water heater--one on the kitchen wall, and one for the o-FURO . I'd assume Ichinose wanted to make sure she had turned off the gas valve to the heater, rather than let the pilot light burn while they were gone. The valve probably controls the gas stove too. In the KOR "I was a cat, I was a fish" OAV (the manga title was "WAGA HAI ha [neko] dearu! no masa"), Madoka goes to take a shower and turns on the heater, but the pilot has gone out and she passes out from the gas in the room. Ito-san: Gas is provided through one pipe per house and the pipe has branches to each piece of gas equipment. The pipe has a MOTOSEN (master valve) and each branch has a valve. When you sleep, or go out for a long time, you should turn the master valve off as well as branch valves, to reduce the danger of gas accident. Example: wall | +--+ | /---@--| | @ : master valve and | / +--+ individual valves gas | | pipe | | +--+ +--+ ==========@=====+----@--| | | | : gas equipment | | +--+ +--+ | | | \ +--+ | \---@--| | | +--+ Here, Ichinose-san is worried whether she's turned her valve off or not, so she asks Kyoko to check it. Chen-san: Taiwanese houses use the same flash heaters for hot water. Some buildings don't have gas service--they use propane from tanks. If you're using gas tanks, it's wise for safety and costs to shut down the water heater completely when it's not in use. } 3 Kyoko (on phone): I understand. wakarimashita SHIRAbemasu. I'll check. understood will check Bye now!! soreja!! Godai looks over his shoulder at Kyoko. 4 Kyoko: [ at the door, holding the master keys ] Just a moment, chotto 1 GO SHITSU wo mite kimasu. I'm going to check ICHIGO room 1. first room see Godai: [ looking down at the table ] Okay. hai. 5 `PATAN', the door closes. Godai: [ crossly buries his head in his folded arms ] _____ (I don't get it... (akan... doushitemo ato IPPO no tsume ga...) Always one step one step short...) 6 Godai: [ he trembles ] (ah...... I want to (aa...... yaritai...) do it...) | [ Oakey-san: "Yaritai" can sometimes be a crude 7 slang meaning "want to screw." ] `[*D*O*N*]', he sits up and pounds his fists onto the table, making the tea spill out of the cup. Godai: SHI--T, I WANNA DO kuso~~~_ yarite-- yo--!! I---T!! feces emphatic | `GIKU_', sound of [ Notice that in panel 6, Godai says `yaritai', surprise. Behind while in panel 7 he says `yarite--'. It's sort him, entering the of rougher and more masculine when you change room just then, the vowels in that way. Kyoko reels Heh heh, instead of `shit', I think it would backwards in shock. be more appropriate if I translated `kuso' as `fuck'. Other times I feel like going for a 8 tamer word and just translating it as "Damn! I Kyoko: wanna do it!" ] [ standing, holding her hands at the front ] Eh... excuse me... a... ano... Godai: [ turns around ] Yikes! wa_! ------------------------------------------------------------ p19 PW121 (In the normal volume, the orange duotone coloring has ended; now it's just normal b&w.) 1 Godai: [ nervously looks at Kyoko, his face red ] Uh... did you hear ano... nanka KIkoe mashita? something? | hear | She goes to sit down [ or: Uh... did you hear what I just said? ] at the kotatsu. Kyoko: Haa, just a bit... haa, SUKOshi... little 2 Godai: [ nervously twiddles [ Note: Now he's back to using the usual his fingers ] | form of `yaritai'. ] | ____ Uh, I meant, I want iya, suki-- wo yaritai na--to... to ski... I was envying AKEMI-san ga urayamashikute...... Akemi-san...... That's what it was. datte sou desho. | Kyoko: [ or: That's right. ] [ blushing ] ____ Oh, skiing...... a, suki-- ......... (Oh dear, I (yada atashi GOKAI shichatta......) must have oh no I misunderstanding misunderstood......) [ Actually, Godai doesn't know how to skate (see v3,3/ VW2,8), and just as likely doesn't know how to ski (but we don't find out whether he can or not, in any case). ] 3 A bowl of soba sits [ The name of this kind of chopstick is on the table, with "waribashi" . It's made out of disposable chopsticks a softwood and part of the upper half is still on the rim. connected. A bit wasteful, but sanitary, at least. ] { Soba are served in two styles: as hot kake-soba in a bowl of broth and condiments (as you can see in this panel), or as cold mori-soba literally `piled' up on a bamboo lattice in a square frame (zaru). Besides being brownish gray, soba can also be green: cha-soba is green due to the addition of powdered green tea. [FOOD84] } TV: In spite of the SHIROGUMI no ZENSEN munashiku, `~ great effort of White team the White team... | `~ [ ZENSEN: to lose the game despite trying hard. `~ ] 4 TV: ...the curtain falls AKAGUMI no ATTOUTEKI SHOURI de MAKU wo TOjimashita. `~ on an overwhelming | victory by the Red [ or: The Red Team's overwhelming victory draws to Team. ._ a close. ._ Ito-san: The kanji for KOU in KOUHAKU usually { Notice the parallel reads "beni" or "kurenai" , but between what happened it reads "aka" here. ] on TV and what happened in Kyoko's [ This note applies only to the normal width room: the men's side compilation volume: lost in both cases It's also interesting that on the first page (remember that the where the reddish coloring is eliminated, the Red Team is composed Red Team wins. Unfortunately, this is just a of women, while the coincidence, as every volume in the series has White Team is made up exactly sixteen pages of orange duotone, and I entirely of men). don't think Takahashi-sensei could have planned Except that in this the manga serialization that precisely so as to case, Kyoko didn't end up with an effect like this in the normal- even realize that she width compilation volume. ] was involved in a contest... } TV (minor voice): Li--ght of the ho-- ta-- ru no-- hi-- ka-- ari-- fi---refli--es. fireflies light | [ Ito-san: As you may know, this song "Hotaru no Hikari", which has taken its melody from "Auld Lang Syne", is a famous song and is sung at places of farewell or departure (most Kyoko: typically, in the graduation ceremony in [ eating soba ] schools). It's sung here in order to say oishi. farewell to the old year. The whole lyrics are as follows: 1. `ZUZU', slurping up hotaru no hikari mado no yuki the soba. (6) fumi yomu tsukihi kasanetsusu itsushika toshi mo sugi no to wo Godai: akete zo kesa wa wakare yuku [ making the 2. slurping noise ] tomaru mo yuku mo kagiri to te ...... katami ni omou chiyorozu no kokoro no hashi wo hito koto ni 5 sakiku to bakari utou nari `[koto]', Godai sets The lyrics are so old-fashioned and difficult down his bowl. that I warn you not to waste time to decipher it. It also follows heptapentameter. ] Godai: If you'll excuse boku sorosoro SHITSUREI shimasu. me... I lit. I commit a rudeness (by leaving) | [ or: Well, I'll be going now. ] Kyoko: Oh, already? ara mou? | 6 [ or: Oh, so soon? ] He stands up to go. Godai: Yes, now that ee, KOUHAKU UTA GASSEN mo MItashi...... I've watched the Red/White Song Contest see Red and White...... Then, bye. soreja. TV: Goooodbyeee sayo--nara-- sayo--nara-- Goooodbyeee [ Looking back at all the lines that came from the TV, you'll see that each line coincided in some Kyoko: way with what Kyoko and Godai were doing (you [ looks at him as can even try p7,4's TV line). For example: he leaves ] 1) Soon after Godai arrives, the announcer on ...... TV basically says that the contest (appropriately, a contest between men and 7 women) has begun. `[Patan]...', the 2) And of course, the line in the current door closes. panel, where the people on TV say `goodbye' at the same time that Godai does. ] Kyoko: (He left rather (assari HIki Ageta wa ne.) quickly.) ._ withdraw 8 Kyoko: (Nothing bad (nanni mo sarena katta...) happened...) (Godai-san is a (GODAI-san te SHINSHI nandawa......) gentleman......) gentleman [ Williamson-san: Yeah. Right. ] 9 Standing just outside the door, he hangs his head. Godai: (Shi---t) (kuso~~~~) (You wimp...) (ikujinashi...) ============================================================ p20 PW122 1 Overhead view of a [ This is a different view than what appears on neighborhood. p4,1; the houses aren't the same. ] 2 `[GO--------N]', sound of the temple bells ringing. Godai: [ lying in bed ] ______ (There probably won't (NIDO tonai chansu datta no ni...) be another chance 2nd time chance like this...) ________ (I lost to the (puressha-- ni MAketa.........) pressure.........) pressure lost | [ Note 1: Actually there will be not one, but *two* chances on the same day with Kyoko, some four years later (see v14,11/VW10,6 and v15,2/VW10,8). 3 Williamson-san: I guess it was all the same `[GO---N]...', day... wow, busy day for all concerned bell ringing. (Godai, Kyoko, Kozue). Of course, that second time was the charm. Note 2: I guess he was somewhat distraught, or too busy thinking, when he went to bed, because he didn't even change his clothes to pajamas. Even though it is cold, he usually Kyoko: would wear pajamas (see v1,3/ VW1,3); futon [ sitting at the are quite warm enough that you wouldn't need table, with a hand to wear warm clothes in addition. After all, to her chin ] Akemi sleeps almost nude. ] (Maybe I was too (UTAGAtte WARUi koto shitana...) suspicious...) to suspect bad { On TV is a view of a temple bell being struck by an acolyte pulling a suspended log by a rope. JOYA-NO-KANE is the name of the event near midnight on New Year's Eve when the 50 000 or so Buddhist temples throughout Japan each ring their temple bells 108 times to dispel the 108 deceptions or sins which were acquired throughout the past year. With each ringing of the bell, a different sin is dispelled. The ringing is slow as the striking logs (temple bells do not have clappers) hit once every five or more seconds. A Buddhist temple bell is called a BONSHOO. It has 108 knobs which represent the 108 evil desires. The point where the ringer strikes is called the TSUKIZA, a part of the bell which has a lotus-petal design. [LOOK89] Ito-san: I don't know if there is any customary rule as to what time it [joya-no-kane] starts and ends. But it must end by midnight. Basically, New Year's Eve in Japan must be a calm, solemn night. Young people might celebrate the new year by making noise outdoors, though. (I've once done it, too :) } 4 Kyoko: (Of course...) (souyo ne...) (Godai-san isn't (GODAI-san sonna HITO janaiwa...) that kind of man...) that person not `[GO---N]...', [ Right about now would be a good time for the goes the bell. bell to remove one of Kyoko's delusions... ] 5 Godai: [ burying his head in his arms ] Damn... A--a, (I didn't push her (OshiTAOsu beki datta...) down after all...) push down | 6 [ or: (I didn't grab her after all...) -^ ] `GABA_', Kyoko starts pulling off her sweater. Kyoko: I'll do it! KImeta_! decided I'll invite him!! SASOtchao_!! invite TV: `[Go---n]...' 7 Her sweater and jeans lie on the floor. 8 `[kon kon]', knocking at Godai's door. Voice (Kyoko): [ from outside the room ] Godai-san, are you GODAI-san OKiterasshai masu? still awake? Godai: [ getting out of bed ] Eh? e_ 9 `[cha]_', he starts to turn the door knob. Godai: [ looks through the glass; a bead of sweat is on the side of his head ] Ka... Kanrinin-san... 10 `[Ki]---', opens wide the door. Godai: Ah... a... [ he looks out in surprise ] { This pagebreak here is merely a center-line break. It would have been a much nicer surprise if you had to turn the page to see what happens next. Oakey-san: I'm curious how it appeared in the original telephone book printing. Having the pages face each other spoils the shock and the cool misleading effect. Artistically, the set up is ideal for astonishing the reader into feeling like Godai feels...if those pages don't face each other. That would help build sympathy and understanding in the reader's mind. If it turns out that the original is also lacking in shock value, then I can only assume that Takahashi sensei's editors over-ruled her plan in some way, or that that layout was planned early in the manga but for pacing reasons a page was added before those two pages, ruining the effect. Tarigan: It does look a bit out of place, doesn't it? But I'm sure the serialization had the same page layout. Takahashi-san crams a whole bunch of small panels towards the end of this page, and then on the next page she only has four panels. Some sort of problem with the pacing. My Goddess! She's not perfect! } ------------------------------------------------------------ p21 PW123 1 Kyoko is standing there, wearing a colorful kimono. [ "Colorful"...? This manga is in black and white, so use your imagination! ] Kyoko: Would you like to NI'NEN MAIri ni Ikimasen ka? go with me for the two-year visit go Two-year Visit? | [ or: Won't you go with me for the Two-year Visit? ] { Ito-san: NINEN-MAIri are the two visits to a Shinto shrine right before and right after the midnight of New Year's Eve. Visit the shrine a little before midnight, then wait outside the shrine for midnight to pass, and visit it again. The name `ninen-mairi' comes from that the visits take place in two years, the old and the new. Tarigan: Shinto shrines are fairly plentiful throughout Japan, so it shouldn't be a long walk for Kyoko and Godai. What Kyoko and Godai are doing is an instance of HATSU-MOUDE . As soon as the new year has started, many people visit the shrines to pray for good luck for the new year. Otherwise, others make this `first visit' during the first few days of the new year. It's traditional to wear a kimono for this visit; we know that Kyoko is a traditional minded Japanese woman, so it's not surprising that she'd follow suit. Williamson-san: Way off-track side note: How traditional *is* Kyoko? Godai and Kyoko's wedding was quite traditional, but from the wedding picture in v15,9, it doesn't appear that Kyoko and Souichiro's wedding was... Hmm... seems the Otonashi family was fairly traditional (frequent visits to the grave, a room to pay respects to ancestors in the home, etc.). Maybe the original wedding photo was a gaffe on Takahashi-san's part? Maybe we analyze this stuff too much? Nah, couldn't be. :) Tarigan: Their wedding is an interesting point. While Souichiro's family was traditional, he himself wasn't quite so. The anime version gives an example of his eccentricity (re: the stone that he gave Kyoko for Christmas [from episode 39] ). Ikuko herself (in v1,8,172,1) says that Souichiro was a weird uncle. Williamson-san: There's a later chapter in the manga (v8,3--the chapter where Godai tries to get into the prayer room) where the Otonashi family is talking about Souichiro's strange behavior while Kyoko seethes about their insensitivity. Tarigan: I found a quote from Andrew Chen's translation for that volume 8 chapter. It sums it up pretty well: Narrator: It's been almost four years since Souichiro passed away. This family will always... talk and secretly make fun of him. We digress, don't we? ^_^ As for the other topic, maybe I was stretching it when I said that Kyoko's wearing a kimono is related to her traditional nature. It turns out that New Year's is the time of the year that almost everyone in Japan makes an effort to be traditional. After all, it's the most special time of the year. } 2 He stands at attention, blushing. Godai: Sh-, sure. ha, hai. Let's go. go ISSHO shimasu. together let's do Kyoko smiles. 3 Caption (expressing Godai's thoughts): ___ ________ As I was opening doa wo Akeru TOKI ISSHUN negurije SUGATA the door, I was door open that time one moment negligee shape hoping that she | would be wearing no KANO'JO wo KI'TAI shitano desu ga...... a negligee, that woman expectation but but...... [ Oakey-san: [regarding the annotation about `[GO-----N]...', bell Joya-no-kane (ed.)] In particular they set me ringing. to thinking that maybe each "gon" sound effect near the end symbolizes a delusion that Kyoko has or a sin that Godai wished to do. Tarigan: It's also interesting to speculate that one of the five "gon"s on p20-21 was responsible for dispelling the delusion that Kyoko would do anything `naughty'. The `gon' on p20,6 might be a hint that the suggestive images of Kyoko stripping are a deception and don't result in what Godai hopes for. { I know, I know, I'm probably over-analysing this whole chapter. And loving every minute of it. } ] 4 Caption: _hito_ = Kyoko-san isn't KYOUKO-san wa sonna ONNA de wa nakattano desu. that kind of that type woman not woman. [ On the other hand, Akemi wears a negligee for They walk down the any occasion. street, and their breaths Notice that Kyoko also said a similar fog up in the cold night. thing about Godai: "Godai-san isn't that kind Again, Godai is of man...". Except that she was actually wearing the muffler incorrect; Godai is a lecher, but fortunately that Kyoko gave to him. (in this case) a wimp. On the gripping hand, Godai's assessment of Kyoko is correct. ] Kyoko: [ looking at Godai ] Happy New Year's. KOTOSHI mo yoroshiku. this year too | Godai: [ or: I hope this year is also good. ] [ smiling back at Kyoko ] (This year I'll (KOTOSHI koso OshiTAOsu_.) push her down!) this year push down { If this is supposed [ Five "gon" sound effects in thirteen panels... to be some sort of 103 more bell-ringings to go. They'll have New Year's resolution, several minutes leeway to reach the shrine Godai doesn't follow before midnight arrives. through (looking at the later parts of The Year of the Rooster will soon end and turn the series). } to 1982, the Year of the Dog. It's going to be a bad year for Mitaka, ne? [LOOK89] ] ============================================================ p22 PW124 In the normal volume this page is totally blank. In later volumes they decided to fill in these inter-chapter blank pages with filler artwork: a copy of a scene appearing elsewhere in the series. In the wideban volume this page has no page number, but does have an utterly generic picture of Godai, Yotsuya and Akemi all in Godai's room (minus the word balloons). It's taken from the first panel of v2,p148/ VW2,p30. ,- ** ** ** ** Coming up in the next chapter: Godai is back home in Niigata prefecture (7), visiting his family, and ends up staying longer than he expected. The residents of Ikkoku-kan (one in particular) start to miss him. ------------------------------------------------------------------------------ ** ** ** ** ------------------------------------------------------------------------------ Supplemental information about the corresponding Wideban: Volume 2 written by Andy Johnson height = 21.0 cm width = 15.25 cm thickness = 2.5 cm total = 356 pages (p353 is the page with the last illustration) weight = 504 grams Each of the 10 volumes comes with a set of Cult-Q Maison questions. The questions for this volume are fill-in-the-blank. Specifically, "Can you name the residents of the following rooms: #1, #4, #5, and #6?" None of the questions on the books are particularly hard. Actually I thought the questions were a rather neat idea ... usually the wrap-around pieces of paper are totally worthless hype for the book ... here there is at least some interest. [ Oh, Cult-Q was a Japanese TV game show... these days there are lots of Cult-Q books around with questions on specific things like certain TV shows, or sports, etc. ] Note that in the wideban volumes this chapter is story 6 in book 2. Along the spine there are no titles, just: Big Spirits Comics Wide Edition (both printed in English caps) Maison Ikkoku 2 (Maison Ikkoku written vertically the standard way; 2 as an arabic numeral) Rumiko Takahashi (written in kanji vertically) Shogakukan (vertically in kanji) BCW3802 Book Cover: Kyoko kneeling down putting a bowl in front of Souichiro on the front steps as he begins munching away on the contents. Full color, very nice (as are all the covers to the Maison wideban series). With the dust jacket off, the cover is olive green with nothing on it. The spine has the same information as the dust jacket but in black on the same olive green. The inner pages (black on green) show Kyoko inside Ikkoku-kan staring at the main doors. (It's definitely a panel from the manga, but I'm not sure from where.) Inner title page has a full color drawing of Kyoko in her tennis outfit (same as the cover for the book 2 of the 15 volume set). The artwork section in this one only has one piece from the memorial illustration set: Godai and Kyoko with their Prince & Princess puppets. The table of contents goes from "[gingiragin] ni sarigenaku" (v2,7/ VW2,1) to "are ga ii" (v4,1/ VW2,17) This story takes up pages 105 - 123. Unlike in the normal volumes (which have orange coloring for a few pages), there is no special colouring used anywhere in the wide-bans. [ Actually the lack of colour in some of the stories that clearly were colour originally surprised me as many of the newer series coming out have colour pages inserted wherever they happen to fall. Maybe this gives them an excuse for yet another printing ... maybe hardback next time with the colour pages. Though from what I saw in Japan, the original size books are nowhere to be seen (new or used) but the wide-ban books are fairly common (small bookstores having 2 or 3 on the shelf, the bigger bookstores having one full set or more). What would be really nice is if they released some of the stories full size like with Appleseed. Though Rumiko's drawings are not tremendously detailed at the beginning, some of the later stuff is quite nice. ] The back cover has a small drawing of Souichiro-san standing outside his doghouse, staring at the street as though he was surprised. Note: all the books have a different drawing of Souichiro-san and the doghouse on the back cover. ------------------------------------------------------------------------------ ** ** ** ** ------------------------------------------------------------------------------ Stats and Miscellaneous Lists: This chapter corresponds to episode #19 of the anime which is titled: "GODAI to KYOUKO. FUTARI no YORU wa KIKEN ga ippai" "Godai and Kyoko. Two's night is full of danger" This chapter was expanded to fill up the entire episode. I was considering writing about the differences between the anime and manga versions of this story, but decided that such information would be more appropriately placed in a section of the main Guidebook. page #panels graph 4 7 ******* 5 7 ******* 6 7 ******* 7 8 ******** 8 10 ********** 9 9 ********* 10 8 ******** 11 6 ****** 12 9 ********* 13 8 ******** 14 8 ******** 15 6 ****** 16 10 ********** 17 10 ********** 18 8 ******** 19 9 ********* 20 10 ********** 21 4 **** --- --- 18pages 144 Average # of panels/page = 144/18 = 8 panels/page This average lowers in the later volumes; her artwork becomes less panel-dense. For one thing, there are more splash pages. Artwork bloopers: ( You'll find a more detailed description of each blooper in this translation; just look up the page numbers which are listed here. ) p5,6 - Godai's door knob p7,1 - broom p7,1 - leash and leash-post p13,4; p16,7; p17,6 - Kyoko's door knob ------------------------------------------------------------------------------ Endnotes: This section is for notes that I couldn't easily fit into the main body of the translation or notes that are too indirect or gratuitous. (1) This file is a part of the "File Library" in that it makes references to the Guidebook and vice versa. In other words, the two documents are "aware" of each other. The release numbers for this file and the main guidebook aren't going to be in sync and some of the details that I give here about the guidebook are going to become incorrect when later releases of that guidebook come out. I will only update this particular translation (i.e., make a new release) when I've made a sufficient number of corrections and additions. Future versions of the main MI Guidebook can be identified by the file pattern of "maison-guide-r??.txt". In the place of those two question marks will be the release number and the part number. For instance, Release 4 will be split up into two parts: maison-guide-r4a.txt and maison-guide-r4b.txt. Future releases of the Guidebook will be so large that they will need to be split up into even more parts. Someday, it will be a five part series, and each part will be over 200 KB in size. And even then, that's only halfway to its final target. Ambitious, ne? Hey, this manga translation all by itself is more than *half* the size of Release 3 of the Guidebook. (2) If you're wondering... I included this list of contributors for the benefit of you people who are looking for other Maison Ikkoku fans. In fact, I refer to this list myself whenever I need to find someone to pester for help. :) There's another such list in my main MI Guidebook. If you thought I had a tendency to digress too much up to this point, then watch me go off on a really wild tangent now!: The coordinates that I gave for each contributor's city are accurate to 0.01 degrees, which is equivalent to an accuracy of +/- 1.1 kilometers. The exact location of each individual's home, however, is very likely to be several kilometers away from the stated coordinates because the coordinates only indicate the center of each city. If you only have the coordinates for two locations on the globe, you can use an algorithm to calculate the distance between those two points. Before that, let's get some constants to work with: Dimensions of the Earth: Equatorial radius = 6 378.2 km Polar radius = 6 356.2 km Mean radius = 6 371 km Average circumference = 40 030.2 km ( calculated by using the formula: 2 * pi * mean radius ) One degree, latitude or longitude, is roughly equal to 111 km. ( 40 030 km / 360 degrees = 111.2 km / degree ) Actually, the only constant you'll really need is the mean radius. I just included the other ones for curiosity's sake. The Earth is not a perfect sphere, so when we try to do some calculations it will be hard to end up with a result that is accurate to less than a kilometer. But that's okay, because the coordinates that I've got for each person's house are only accurate to within about five kilometers anyway. I now let Ito-san take the podium: Ito-san: I asked this problem on the net and it was solved. Here's the answer: [ Tarigan: Note: this algorithm arrived with an adequate amount of supporting text, but I fleshed it out some more and tailored it to the needs of this document. ] Title: To calculate the distance between two spots on the Earth from their latitude and longitude. Summary of the formulae: theta_1 and theta_2 are the (north) latitudes phi_1 and phi_2 are the (west) longitudes x_1 = r (cos theta_1) (cos phi_1) y_1 = r (cos theta_1) (sin phi_1) z_1 = r (sin theta_1) x_2 = r (cos theta_2) (cos phi_2) y_2 = r (cos theta_2) (sin phi_2) z_2 = r (sin theta_2) d'^2 = (x_1 - x_2)^2 + (y_1 - y_2)^2 + (z_1 - z_2)^2 omega = arccos (1 - [d'^2 / 2r^2] ) distance = r omega There are some extra steps, which I'll explain below. But the above formulae are enough to start with--you can easily conjure up the few extra equations to make them work. *** Full explanation: *** Note: you must perform the main calculations in radians, not with degrees. This algorithm requires that all the coordinates be in terms of north and west. To handle south or east coordinates, do the following conversion(s): If the longitude is in the east, then: Let x = the old longitude. new longitude = 180 - x + 180 = 360 - x If the latitude is in the south, then: let y = the old latitude new latitude = - y = 360 - y Examples: 50'N 30'E --> 50'N 330'W 30'S 120'W --> 330'N 120'W 60'S 10'E --> 300'N 350'W 'Fraid this algorithm is especially biased against you south-easterners. Most of the contributors here are in the north-west part of the world, so that's why. (Actually, it would be easy to reverse the conversion formulae so that only south or east coordinates don't have to be converted.) Now we have to convert from degrees to radians: let x = degrees, x * pi / 180 = radians ( pi = 3.141592654 ) Examples: 45 degrees north, 120 degrees west --> 45 * pi / 180 = 0.7854 radians north 120 * pi / 180 = 2.094 radians west Assume that the Earth is a perfect sphere. "r" is the radius of the Earth. "theta_1", "theta_2" are the (north) latitudes, and "phi_1", "phi_2" are the (west) longitudes of the two spots. For r, use the mean radius: 6371 km. Calculate the orthogonal coordinates (x_i, y_i, z_i) of the spots from their polar coordinates (r, theta_i, phi_i): x1 = r (cos theta_1) (cos phi_1) x2 = r (cos theta_2) (cos phi_2) y1 = r (cos theta_1) (sin phi_1) y2 = r (cos theta_2) (sin phi_2) z1 = r (sin theta_1) z2 = r (sin theta_2) Calculate the square of the linear distance d' between the spots: d'^2 = (x1 - x2)^2 + (y1 - y2)^2 + (z1 - z2)^2 Calculate the angle omega of the spots to the center of the Earth: According to the cosine theorem, d'^2 = r^2 + r^2 - 2r^2 (cos omega) Therefore, omega = arccos (1 - [d'^2 / 2r^2] ) { 2r^2 = 2 * 6371^2 = 81 179 282 } Calculate the length d of the arc between the spots: d = r arccos (1- [(x1-x2)^2 + (y1-y2)^2 + (z1-z2)^2] / (2r^2)) = r arccos (1- [d'^2 / 2r^2]) = r omega *** End of algorithm. *** Tarigan: Now, let's try out this algorithm and see if it really works. I know just the coordinates to use: mine and Ito-san's. Tarigan is at 49.15'N 122.50'W Ito-san is at 35.45'N 139.30'E Conversion to radians: Tarigan's coords = (49.15 * pi/180), (122.50 * pi/180) = 0.8578 N, 2.138 W Since Ito-san is in the east, there's an extra step: 139.30'E --> 360 - 139.30 = 220.7 degrees Ito-san's coords = (35.45 * pi/180), (220.7 * pi/180) = 0.6187 N, 3.852 E Thus, theta_1 = 0.8578 phi_1 = 2.138 theta_2 = 0.6187 phi_2 = 3.852 Calculate the orthogonal coordinates: x1 = r (cos 0.8578) (cos 2.138) x2 = r (cos 0.6187) (cos 3.852) = 6371 (0.6541) (-0.5373) = 6371 (0.8146) (-0.7581) = -2239 = -3934 y1 = r (cos 0.8578) (sin 2.138) y2 = r (cos 0.6187) (sin 3.852) = 6371 (0.6541) (0.8434) = 6371 (0.8146) (-0.6521) = 3515 = -3384 z1 = r (sin 0.8578) z2 = r (sin 0.6187) = 6371 (0.7564) = 6371 (0.5800) = 4819 = 3695 Calculate the square of the linear distance d' between the spots: d'^2 = (x1 - x2)^2 + (y1 - y2)^2 + (z1 - z2)^2 = (-2239 - -3934)^2 + (3515 - -3384)^2 + (4819 - 3695)^2 = 1695^2 + 6899^2 + 1124^2 = 2 873 025 + 47 596 201 + 1 263 376 = 51 732 602 Calculate the angle omega of the spots to the center of the Earth: omega = arccos (1 - [d'^2 / 2r^2]) = arccos (1 - [0.6373]) = arccos (0.3627) = 1.1996 Calculate the length d of the arc between the spots: d = r omega = 6371 * 1.1996 = 7642.6 = 7643 km According to my Britannica Atlas, the distance from Seattle (which is fairly close to Coquitlam) to Tokyo is 7708 km. So there you have it--the algorithm really does work. That was a killer to do by hand. So I loaded up my trusty "Microsoft Excel" spreadsheet, programmed in the formulae and made it churn out numbers for the following table: [ Note1: Excel internally calculates to 15 digits of accuracy, which is mostly ineffective because the coordinates that I feed it are accurate to five digits at most. Note2: Going at a brisk speed, it took me four minutes with a pocket calculator to calculate the distance between two persons. It would have taken me four *hours* to calculate all 66 distances in the table below if I were silly enough to do it by hand. ] Table: Shortest flight distance (km) from one contributor to another ===== Tarigan Ito Tarigan 0 Oakey Ito 7643 0 Johnson Oakey 1796 8952 0 Williamson Johnson 3124 10368 3163 0 West Williamson 2844 10225 2795 369 0 Chen West 3061 10437 2945 294 220 0 Shambaugh Chen 2844 10225 2795 369 0 220 0 Steyn Shambaugh 3811 11009 3706 691 985 787 985 0 Melanson Steyn 3982 10834 4143 980 1348 1214 1348 627 0 Tom Melanson 2273 9667 2434 859 579 799 579 1539 1792 0 Tom 3671 10454 3969 851 1209 1132 1209 807 379 1557 0 Carragher 1903 9043 108 3178 2809 2953 2809 3707 4157 2468 3992 0 ---- ----- ---- ---- ---- ---- ---- ---- ---- ---- ---- ---- Tari Ito Oake John Will West Chen Sham Stey Mela Tom Carr Avg distance | | | | | | | | | | | | for each | | | | | | | | | | | | person: 3079 9071 3067 2021 1949 2005 1949 2388 2567 2045 2436 3094 [ Waaa! I'm so far away from everybody else! Andy Johnson's got it pretty good--most of the others are less than 1000 km away. ] I'd say that each distance above is accurate to within 5 km; maybe worse. Exception: David Oakey's coordinates are now somewhere in Japan. A good approximation would be to assume that his coordinates are identical to Takayuki Ito's, plus or minus 500 km. The exception to this exception is that David should now be within 500 km of Ito-san. Summary: Tarigan, Oakey (was) and Carragher, being on the west coast of North America, have average distances of 3000+ km. Ito, being in Japan, is far away from everyone here. The rest are in the central to eastern part of North America, and their average distances are correspondingly sub-2600 km. Almost Lastly: If you were to go in the wrong (straight-line) direction, instead of travelling x km to reach somebody, you would have to travel (40030-x) km. [40030 km being the circumference of the Earth] Really Lastly: I tested out the algorithm against eight distances from a reference table (e.g., from London to Los Angeles). The algorithm's results deviated from the actual ones by an average of 0.6 percent. That means that it's off by only 10 to 50 km. For Release 2 of this translation I'll see if I can find a correction factor to account for the elongation of the Earth's circumference due to its rotation. We now reach the end of today's math and geography lesson. Bwahahahaha!! (3) For MS-DOS computers and others that are restricted to puny filenames, I suggest the following name for this document: "mi3-1.r1" . (4) "Wideban" is formed out of a combination of the English word "wide" and the Japanese word "BAN" . (5) Here's some info about heat exhaustion (aka heat prostration): Heat exhaustion is caused by both water and salt depletion associated with prolonged sweating. A person in a hot bath for an hour can lose as much as a kilogram in the form of sweat. The heat from a bath can also dilate the blood vessels and cause fainting--the blood pressure drops, and not enough blood reaches the brain. How long it takes for such a problem to develop depends, of course, on the person's endurance levels. In most cases, a patient suffering from heat exhaustion will improve dramatically within half an hour. Treatment should be started by moving the patient to a cooler area and laying the patient down. Excessive or tight-fitting clothing should be removed or loosened. The patient may be cooled by sponging with cool water and fanning, but not to the point that the patient begins to shiver. Only if the patient is fully alert and not nauseated should fluids be provided. Juice, soft drinks or a solution of salt water are best. Alcoholic beverages and coffee are not recommended. With proper treatment, heat exhaustion isn't very serious, but left untreated, the patient's condition may progress to heat stroke, which is a life-threatening medical emergency. [INDU90] This may have been an excessive description, but it does show that Takahashi-sensei (in v11,5/ VW7,16) did not make any mistakes this time. In fact, for Godai's fainting problem, she followed to a tee the treatment guidelines described above. (6) It's considered childish and impolite to cool your soba by blowing on it--the proper way is to slurp it up with a great sucking noise, cooling the noodles with the intake of breath, while at the same time swallowing them. [FOOD84] (7) Niigata is a prefecture whose capital city is also named Niigata. The Japan Sea and the side of Japan nearest to the Asian continent receive winds from Siberia, Korea and North China, which bring such regular heavy winter snows that Niigata prefecture is commonly referred to as YUKI GUNI . The Shinkansen (aka Bullet Train) from Tokyo can travel the 275km route to Niigata in about two hours. [EVJA89] ------------------------------------------------------------------------------ Detailed Credits: A "key" marks off each line or paragraph that was done by one of the people listed here. I also sometimes use the entire last name to give credit. If any text doesn't have a key or name, then that means that I (Glenn) wrote it. I chose such cryptic, low-profile keys because they're less intrusive than using initials while satisfying my desire to know who did which line. Note: I chose keys which would only appear at the locations where they're needed. A simple word-find command using a properly designated key will easily locate the desired line and avoid false flaggings. Thus I avoided choosing keys such as `__' or `~~' because such combinations are used in several other locations of this document. For example: The key for Gavin Steyn is "-^" Ex. (OshiTAOsu beki datta...) push down (I didn't grab her after all...) -^ Gavin did that third line, while I did the first two. In this case, the third line was definitely harder to do than the other two. This is a list of the significant (e.g., large or nice) annotations I wrote: (There's no need to list the other parts which I did, since that would entail listing almost every single panel of this translation. Honest!) p3 - the soba pun; p11,6 - shimekazari origin of soba; p12,9 - ryokan central heating p14,5 - Godai's behaviour p4,1 - visiting rural homes p16,7 - sembei p4,2 - Akemi and Godai in bed p19,3 - soba serving styles p5,5 - Red and White Contest p19,4 - analysis of TV lines; p6,7 - Toshikoshi soba and demae red color coincidence p8,1 - Buddhism p20,2 - Godai's clothes p8,3 - odoriji p20,3 - joya no kane p10,3 - bathhouses p21,1 - traditional Kyoko p11,1 - Godai's muffler; hot baths; days of the month ITO, Takayuki contributed: Annotations: J.Transcription note - vowel extensions p2 - pun explanation p3 - another pun explanation p4,1/3 - "Tokio" comment & interjection. p5,5 - Gender distribution of the teams. Who wins. p6,4 - a pun? p7,4 - describes Ameya Yokochou p11,1 - pronunciation rule p18,2 - gas supply p19,4 - pronunciation rule p20,3 - timing of bell-ringings p21,1 - Ninen-mairi Endnotes - located the formula for calculating distances Translation, romaji corrections or additions: within Cover Page p3 p8,1 p17,1/3 p4,3/5-6 p11,3 p18,1-2/4 p5,1 p13,2-3/6 p19,3 p6,1-3/7 p14,6 p16,8-10 Key: `~ David Oakey gave help (corrections and/or additions) for: Annotations: p4,2 p5,4 p6,1 p7,4 p9,6 - translation notes p11,1 - re: Kyoko's wet hair p11,3 - panel styles p11,5 - interjection p12,9 - re: ryokan p14,7-8 - sound fx p18,6 - translation note p20,10 - re: the page break p21,3 - re: "gon" sound effects Provided the physical statistics for the wideban volume#2. Translations, romaji additions/corrections: Chapter title augmented to `By Your Side'; alerted me to the fact that the chapter title is a pun. Table of Contents. p4,2-4 p8,1/3 p19,4 p5,2/4/7 p9,1/5-6 p6,1-3/5 p11,2/4 p7,4 p13,2 Suggestions which I made use of: p4,2 - his comment on Godai and Akemi in the futon got me to make a note about it p20,2 - made me comment on Godai's sleepwear - put wideban vol and chapter refs at start of document Key: ._ Andy Johnson gave help (corrections and/or additions) for: wideban supplemental info p9,1 - corrected romaji p22 - desc. of wideban page provided the corresponding cross-refs for the wideban version: ORIG WIDE v1,3 1,3 v2,11 2,5 v3,3 2,8 v6,3 4,8 v7,2 5,2 v7,3 5,3 v8,1 5,11 v8,page 129 6,page 23 v11,3 7,14 v11,5 7,16 v14,11 10,6 v15,2 10,8 Suggestions which I made use of: - make a paragraph describing what happened in previous chapter Key: ,- Jeff Williamson gave help (corrections and/or additions) for: translation related: annotations/comments: p4,3/5 Cover Page - hair colors p5,2 (added "particularly" p4,2 - Kyoko's jealousy to the English line) p9,9 - unselfish Kyoko p6,2/6 p12,3 - interjection p9,5 p14,5 - Godai's behaviour p10,7 p19,8 - interjection p20,2 - "a busy day" Key: =~ p21,1 - traditional people Vickie West gave help for: Corrections: usage of "since" vs "because", and other misuses of "since" usage of "that" vs "which" proper spelling of "e.g." & "i.e." (as opposed to "eg." & "ie.") p6,6 p7,7 - tidy up sentence structure p12,4 - alternate rewordings p12,9 - " " Wideban supplemental - hyphenating the phrase "fill in the blank" ... as well as numerous corrections and improvements (too small to mention individually) in the following sections: Main title Introduction Compiler's comments Translation notes Suggestions: - align some tables for better readability: the staff roster and the conventions and stats. Key: `' Andrew Chen gave help (corrections and/or additions) for: Cover Page - reminded me that "Maison" is printed on the grocery bag. p12,2 - chinese pronunciation p16,8 - rice crackers p18,2 - in paragraph 2, gave romaji title for KOR episode p21,1 - prompted me to comment on the `colorful' kimono - provided the translation for that quote from v8,3 His translations of MI (posted later than Steyn-san's) also encouraged me to give this translation a go. His romaji transcription method made me want to differentiate between katakana and hiragana within this translation. Key: _- C Sue Shambaugh gave help (corrections and/or additions) for: Translated: Miscellaneous: p5,4 J. Transcription note p10,2 p6,1 - samishii p14,6 p6,3 - writing on the cans p7,4 - food boxes p8,10 - meaning of "mazui" Key: -= p12,2 - the "men" in "ramen" Gavin Steyn gave help (corrections and/or additions) for: p4,1-2 p14,5 p18,2 p7,4 p16,1/10 p20,5 His translations of MI were the first to make me want to start this translation. Key: -^ Harold Melanson gave help (corrections and/or additions) for: Translations: Annotations: p8,5 p7 - identified Yotsuya's hat as a fedora p10,1 (I forgot what it was, okay?) p11,3 p18,2 - flash heaters Key: ./ Howard Tom gave help (corrections and/or additions) for: p2 - provided the romaji: `mokuji' p5,5 - informed me that Undoukai appears only once in the manga Key: `" Robert Carragher gave help (corrections and/or additions) for: p15,3 - corrected: `TANOshii' was strangely missing (and after all my careful proofreading ^_^;;; ) p16,8 - I combined one of his sentences with Chen-san's annotation Key: ^' ------------------------------------------------------------------------------ Bibliography: [ATLA84] = `Britannica Atlas' Copyright 1984 by Encyclopaedia Britannica, Inc. 552p [EDAY88] = `Everyday Japanese: A Basic Introduction to the Japanese Language & Culture' by Edward A. Schwartz and Reiko Ezawa. Copyright 1988 by Passport Books, Illinois, USA. 208p [EVJA89] = `Everything Japanese: The Complete A to Z of Life in Japan - its Business, Politics, Culture and Customs' written by Boye De Mente. Copyright 1989. Harrap Books Ltd. London. 319 pages [FOOD84] = `The Guide to Japanese Food and Restaurants' by Russell Marcus and Jack Plimpton. Copyright 1984. Published by Shufunotomo Co., Ltd. Tokyo. 264p [FROM90] = `Frommer's Tokyo' by Beth Reiber. First Edition. Copyright 1990 by Simon & Schuster Inc. 266p [INDU90] = `Industrial First Aid: A Reference and Training Manual' Copyright 1990 by Workers' Compensation Board of British Columbia. 418p [LOOK89] = `A Look Into Japan: Volume 1' by the Japan Travel Bureau, Inc. Copyright 1989. 15th Edition. 192p [PASS88] = `Passport to Japan' by Richard Tames. Copyright 1988 by Franklin Watts Inc.. Printed in Belgium. 48p [USAG91] = `A Handbook of Japanese Usage' by Francis G. Drohan. Copyright 1991 by Charles E. Tuttle Publishing Co., Inc. Printed in Japan. 314p ------------------------------------------------------------------------------ Revision notes: [93.08.26 8:42 started] [93.08.27 14:15 added descriptions ] = 280 lines [93.08.30 5:51 - 6:58 tried translating] = 584 lines [93.09.10 12:10 editing, corrections ] = 593 lines [93.09.11 20:54 - 22:15 added more, including sound effects ] = 706 lines [93.09.12 6:10 - 7:20 added more details ] = 841 lines [93.09.14 6:20 - 7:18 added romaji details and translation ] = 1008 lines [ 10:15 - 11:11 added romaji details and translation ] = 1193 lines [ 13:08 - 15:09 added romaji details and translation ] = 1325 lines [93.09.16 21:50 - 22:38 further translation ] = 1517 lines [93.09.17 15:36 - 16:19 further additions ] = 1616 lines [93.09.18 19:42 - 20:55 editing ] = 1579 lines [93.09.19 6:25 - 6:57 adding ] = 1611 lines [93.09.21 11:38 have made various corrections, helped by others ] = 1786 lines [93.10.03 8:45 - 11:24 Major changes: went to two-column format. Changed from mostly 60 columns to mostly 75 columns ] = 2470 lines [93.10.04 21:06 edited ] = 2355 lines [93.10.08 23:30 edited down ] = 2283 lines [93.10.10 8:45 added new text by Andy Johnson ] = 2302 lines [93.10.11 15:20-16:38 new text from Melanson; further editing ] = 2346 lines [93.10.13 5:30 new text from Chen; decided to distinguish between hiragana and katakana within the romaji ] = 2427 lines [93.10.20 6:02, 21:30 started to add new text from Ito ] = 2661 lines [93.10.27 21:51 with Shambaugh-san's final two bits, this translation is at long last nominally complete! Now, the question is "Is it accurate?" ] = 2682 lines [93.12.05 3:06 During the past month, I continued to add details and make corrections. In the past few days I added references to the main Guidebook ] = 2928 lines [93.12.08 6:00-6:24 added input from Williamson-san ] = 2997 lines [93.12.11 11:00-12:10 checked over the corrections sent in by Vickie West ] = 3049 lines [ 12:10-12:36 added Ito-san's new annotations ] = 3106 lines [ 17:00-17:50 went over document; more editing ] = 3154 lines [93.12.13 20:00-21:40 entered in the math lesson; edited ] = 3303 lines [93.12.14 19:00-19:50 finished off the math lesson ] = 3369 lines =-------------------------------------------------------------------------= = 93.12.19 14:00 "Release 1" becomes ready. = = 3546 lines = 19800 words = 148 kilobytes = =-------------------------------------------------------------------------= End. Questions about dubious parts of this translation, or things that I need help about: - What is the Japanese terminology for the long line and the squiggly line that are used as vowel extensions? - p7,8: What is that hand gesture that Kyoko makes? Is she just counting `two'? - How long can a healthy person soak in a Japanese bath before fainting? What do you suppose were the circumstances in v11,5 (see the annotation of p11,1) that caused Godai to faint? (temperature of the water? length of time?) - "In 1990 there were 2000 bathhouses in Tokyo..." That's the best I could come up with. Would someone tell me how many bathhouses there were in 1981? - Have Godai and Akemi ever been in the same bed when Kyoko was in the room? (aside from v8 p129 [refer to the annotation for p4,2]) - On p7,4 what is that food that is in those boxes? Is there anything unusual or worth commenting about in that panel? - Page 17, panel 1: What is Kyoko holding in her hand? - On page 10, panel 3 is a vertical signboard to the right of Godai's head and just below his speech bubble. It looks to be written in only kana. What does it say? - Page 10, panel 4: Two characters on a piece of paper are visible just below Godai's speech bubble on the far right side of the panel. What are those characters? What do they mean? - On pages 4, 5, and 6 can you figure out what's the writing that appears on the labels of their beer-cans? - What are the 108 sins/delusions as described in Buddhism? (see annotation of p20,3) PS. Now that I think about, I'd be amazed if you read this huge document entirely. If you managed to hang on all this time then congratulations. PPS. Sorry if it seems that I keep getting in the last word in those annotations (e.g., someone makes a comment, and then I append one of my own to it), but as the compiler, I'm in a privileged position. If you want this power, why don't you try compiling a translation? I'll help! (especially if it's a translation of Maison Ikkoku) The End, for real. I mean it!