Hi guys, GTY_Ponzorz here. I mainly translate Bleach. I am not sure why but it came to my realisation lately that this certain aspect of Japanese culture actually crops up in anime/manga more than we realise, so I thought I’d just write a post about it for anyone who is interested. Since I translate Bleach, many general examples I give will be Bleach related so please bear with me, but hopefully it’s not too bad. What would be awesome is if you could leave in the comments your own analysis/views about your favourite anime/manga in relation to this topic!
This post will be divided in to five parts which will be posted weekly, on Sundays (GMT) – to save you from reading a super long post all at once. Promise it will be good. :x
Okay, so here is what I want to talk about:
The truth and the mask: Honne and Tatemae
This is a very distinctly Japanese concept, and may be a little difficult to explain and grasp so please bear with me.
As a short-and-sweet summary to give you an idea;
Honne is the truth; someone’s true feelings, their inner desire, what it is they themselves want. In Japanese society, this is not something that is revealed easily. You’d have to be considerably intoxicated or be very trusting of someone (close friend) to disclose your honne.
Tatemae is a facade; I don’t want to call it a lie, but in many cases you can’t deny that the tatemae is a lie. It’s the polite exterior mask you show to the world, to avoid conflict and preserve pride.
This concept is deeply, deeply entrenched into Japanese culture, and small children, knowingly or unknowingly, learn to grow up maintaining their two different codes of conduct. (Kids are legit taught to have a Tatemae face in the classroom, regardless of their personal thoughts on an issue.)
This is not to say that such a concept is unique to Japan. A lof of people who are familiarised for the first time with Tatemae say, “Oh wow wata bunch of flaming liars the Japanese people are then.” I don’t think it’s reasonable to assume people of the Japanese society lie more or less than any other group of people on this planet. For starters, in many oriental cultures with confucian values, the idea of honor, pride, saving face, doing what is right vs what you want, has been prevalent through centuries and centuries of civilisation. I am sure in your respective cultures, there is such a standard of maintaining a facade, being polite, telling white lies- things which you learn to adapt to - and gradually get a grip on what kind of stuff you do and say flies in your society, and what just really doesn’t.
Why I say this is a distinctly Japanese concept though, is the fact that they have coined specific words such as “honne” and “tatemae” to explicitly talk about this social convention - it is a big deal to them - and this concept of a polite facade is definitely more evident in Japanese society, and more acceptable too. (There are also many anthropologists, psychologists, linguists, who do research on this stuff! ) and having an understanding of it, even a basic understanding, can help to better understand a lot of the other issues, behaviours, events, that happen in Japanese society - because once you’ve learnt to identify Honne/Tatemae, boy is it obvious sometimes - and as a reader , some of the things people/characters do can make a deeper impact/ hold more significance than before. : )
As a translator of Japanese, having a solid grasp on this concept is especially important in order to make solid translations of the meanings in the dialogue. How do you translate a conversation that means on thing on the surface, but may imply something else completely?
To quote Jay Rubin (Translator of many of Murakami Haruki’s novels, and Japanese literature lecture at Harvard University)
“The Japanese language can express anything it needs to, but Japanese social norms often require people to express themselves indirectly or incompletely.”
I’m sure Dino and Vox have written many a post about how vague the Japanese language can be in comparison to English, and the challenges translators and readers alike face in reading a story that’s been translated to a different language. I guess this post will build on their posts, and hopefully this post will connect to previous blog posts.
Next week I will cover some ground on the applications of the concept of Honne/Tatemae in Japanese society, so don’t forget to come back and have a look.
Rurouni Kenshin has a very special place in my heart. It is the first anime I ever watched from beginning to end. The first anime I watched in Japanese. The first Japanese story that truly and wholly captured my heart. It would be no stretch of the imagination to say that I owe my current passion for translation and the Japanese language to the world of anime and manga that Rurouni Kenshin introduced me to.
So when I found out last year that a new Rurouni Kenshin one-shot was being written to commemorate the release of the second and third live action films, I jumped at the chance to translate it. This is that one-shot. It's taken me a bit of time to complete—it was released in Japan in tankobon format in November of last year, and I got my hands on it around the same time—but I really wanted to do this franchise justice. Also, college is hard.
While reading this one-shot, I actually learned quite a bit about both the Rurouni Kenshin canon and the historical setting in which it is based. I'll discuss my revelations on the former topic at the bottom of the post; they contain spoilers and I'd hate to ruin this story for you now.
But before you go, I'd like to (as I've done in my other blog posts) offer a little primer on the real world events that inspired this manga. Bridging the illusory divide between fiction and reality and laying bare the roots stories have in history makes them all the more poignant. At least, I think so.
The main Rurouni Kenshin manga takes place in the early years of Japan's Meiji period. For reference, the era of the Tokugawa shogunate is the Edo period, followed by the Meiji. Next come the Taisho and Showa periods (think World War I and II), followed by the currently ongoing Heisei period. This one-shot takes place six years before the beginning of the main manga, that is, the fifth year of Meiji.
The Meiji period was begun by an eponymous revolution or "restoration," as it is commonly known—the Meiji Restoration. It sought to remove power from the feudal lords of the Tokugawa period—shogun, daimyo, and samurai—and consolidate it in the hands of the emperor himself. In that sense, then, a restoration of Japan to imperial rule, if you will. The Meiji Restoration was also a very important first step in the modernization of Japan. Before the Meiji Restoration began, while most Japanese samurai battled sword-to-sword, the American Civil War, fought with guns and cannons, had already concluded.
Change rarely comes quietly. The end of the Tokugawa shogunate was not a pretty one, and the chaotic transition period between the shogunate and the relatively peaceful Meiji Imperial era is known in Japanese history as the Bakumatsu. The Bakumatsu is also the backdrop for Rurouni Kenshin; although the manga doesn't actually take place during it, the events of the Bakumatsu deeply affect all the characters in the story, particularly Kenshin himself.
The chaos of the Bakumatsu was primarily a struggle between two forces: the pro-Imperial Ishin Shishi (維新志士, Restoration patriots) and pro-shogunate forces like the Shinsengumi. The Ishin Shishi were composed mainly of samurai from the Satsuma and Choshu clans, as the alliance between these two clans was what built the foundation for the Meiji Restoration itself. The top brass of the Meiji government was pretty much all former Satsuma and Choshu leaders.
The Meiji government used whatever means it could to undermine the shogunate and gain power for itself. Often, its methods were less than honorable. In particular, it relied rather extensively on assassination to eliminate key figures of the opposition. The four most notorious assassins of the period were known as the Bakumatsu Shidai Hitokiri (幕末四大人斬, Four Great Manslayers of the Bakumatsu). One of them was a samurai named Kawakami Gensai. This is the character upon whom Himura Kenshin is based. Kenshin, disillusioned with the death and carnage he wrought in his days as an assassin, decides to never kill a person again, but still continues fighting for Japan's betterment. His foe, Shishio Makoto, is the assassin that was hired to take his place, a man who decides that the order and peace of the Meiji government is weakening Japan.
So in a larger sense, the struggle between Kenshin and Shishio is a struggle between modernity and antiquity, a battle between order and chaos, a clashing of change and constancy.
This one-shot, though, is not about Kenshin at all. It is about Shishio.
(Spoilers start from here on out! Go read the one-shot now if you haven't already.)
One of the problems with Shishio being a villain in the main storyline is that he is necessarily required to be evil, to be a foil in as many possible ways to Kenshin as he can. This leaves little room for characterization, or at least less than if he weren't confined to any particular plot role. The fact, then, that this story allows him the freedom to leave that "villain" box means we get to see a different side of the guy.
And its this side that I quite like. Make no mistake, Shishio is cruel and shrewd and merciless, but this depiction of him shows that he's also got a roguish, sarcastic attitude, and that it's straight up cool.
The best thing is that this story isn't just some ultimately irrelevant side story or "filler"; it's clear that it's intended to be canon. Events that take place in the main storyline are explained here, like why Shishio kills Yumi during his final duel with Kenshin, or what his final attack looks like. Learning the background behind these events further enriched my understanding of the main series. Made the pieces of that story fit just a little bit closer, if you will.
Equally interesting to me were some of the attack and character names that I never knew before, as they are unfortunately never properly explained in most translations. So, as I've done in the past, I want to share some of that interesting-ness with you.
First, we have names. As my fellow translator DzyDzyDino has explained in a previous blog post, translating Japanese names almost always boils down to a trade-off between meaning and pronunciation. In English, in order to change meaning, most of the time we have to change the pronunciation. English is written with the Latin alphabet, a phonetic script, meaning that the way we write a word is inextricably linked to the way it must be pronounced. Japanese names, however, are written in kanji, an ideographic script. This means that, in Japanese, meaning and pronunciation can be manipulated essentially independent of each other. For example, my (non-Japanese) name can either be written with kanji that mean "two-flavor sake" or "benevolent charming pearl"—two very different meanings, but the exact same pronunciation. Couple this with the fact that Japanese sounds nothing like English, and 99% of the time, it's impossible to communicate both the meaning and reading of a name with a single, name-like word. Given this impasse, most translations often just completely ignore any meaning the kanji of a name have and simply write it phonetically in English, which, although not incorrect, belies the often deep relationship a character's persona has with the meaning implied in his or her name's kanji.
Hanahomura and Hanabi's names are written thus: 華焰 (Hanahomura) and 華火 (Hanabi). The word hanabi when written with different kanji () means firework; yet, interestingly enough, in this case, these two words are actually not that far off. Both literally mean "flower fire," it's just that the name Hanabi uses a different kanji for flower. On top of this, the kanji read "homura" in Hanahomura's name is a word all its own; it means "flames" or "blaze." A grown-up fire, if you will. So, when the little flower fire Hanabi grows up, she may become like Hanahomura, a flower blaze.
Moving on to the epithets of the Juppongatana, sadly most of them are pretty straight forward, but Anji's actually has an interesting back story. I've translated what he is called, Myouou (明王) as The Radiant King not because that is just one way to read the kanji, but because the Buddhist concept that the term myouou refers to is actually translated that way in Buddhist texts. The term myouou refers to the vidyaraja, the third, wrathful, type of Buddhist deity, after Buddhas and bodhisattvas. One commonly named vidyaraja in Japanese fiction is Fudou Myouou.
The name of Shishio's final attack also has roots in mythology. The word Kagutsuchi (火産霊神) in Japanese, which literally means fire-birthing spirit god, is actually the name of the Shinto god of fire. He is one of the sons of Izanami and Izanagi. According to Shinto texts, his birth comes at the end of the creation of the world and signifies the beginning of death. A rather fitting name for a final attack, isn't it?
Even Sameo and his little army have a bit of a quirk to their names. Sameo's first name is written 鮫男, and it literally means "shark man." His army's name is the Wadatsumi Kouheidan, written thus: 引原海鮫兵団. Wadatsumi is an actual Japanese name, but when written differently (海神) refers to a type of sea demon (also often called an umibozu). The "kou" in "kouhei" is the same kanji that is in Sameo's first name; shark.
On a cultural note, the fact that this story takes place pretty much entirely in a brothel colors its language, revealing some interesting facts about feudal-era Japanese brothel culture. In particular, there are quite a few terms used exclusively in the context of prostitution that are in this story, and not all of them were as translatable as I'd have liked, so I want to share here what I wasn't able to in the main body of the translation.
To begin with, there are a lot of specific terms for prostitutes themselves. Although the term geisha is often used in Western culture to refer to Japanese prostitutes in general, this is actually incorrect. The general term is yuujo, (遊女) or "play girl." The term used most often in this work, though, is the more "dignified" oiran (花魁), which is probably closer to "courtesan." By the way, the first kanji in that word means flower (Hanahomura and Hanabi's names weren't picked at random). Very highly sought-after prostitutes, those of a rank higher than any of the other girls working at their brothel, are called chuusan (昼三), a word I've left as is in the translation. Newly-minted prostitutes that have just begun working were apparently called shinzou (新造), which I have translated as "newbie." This is what Hanabi is. Very young girls like Akari and Kagari that live and "work" (in a non-sexual way, I hope) in a brothel as aids to the older prostitutes are called kamuro (禿). Being that English doesn't really have a term for this kind of occupation, I've left this too as it is in the translation.
The red-light district also has many names; pleasure quarter (歓楽街), play district (遊郭), etc., but the term most often used in the one-shot is actually the name of a real, historical and modern red-light district in the city of Tokyo—Yoshiwara. Additionally, the life of prostitution itself is actually sometimes referred to as "a world of suffering," or kugai (苦界).
That brings this rambling novel of a post to an end. If you've made it all the way here, I thank you for your attention. I thank you for taking time out of your day to read my translations. And I thank you for supporting all of us here at MangaStream.
As always, feel free to ask any questions about the one-shot itself or the translations in the comments below; I'll try my best to answer them.
Until next time,
Hi there, friends. It's been a while.
If you haven't, you should go check out the Mashima one-shot that follows at the end of the latest FT Zero chapter —"Happy, the Blue Cat."
I'm writing this blog post because that short seven-page work actually had quite the impact on me; I was hoping to share a bit about it with you all. So go read it if you haven't already! This post isn't going anywhere.
First things first; the Great East Japan Earthquake is actually referred to in Japanese as "The Great Disaster" (東日本大震災, Higashi Nihon Dai Shinsai). That should be enough to tell you how much of an effect it had on Japan and its people.
The whole theme of "Happy = happiness" as detailed in the note at the end of the chapter loses a bit of its poignance when translated from Japanese to English, so in an effort to get at least a little bit of that magic back, I thought I'd go into it a bit more.
Basically, whenever the word "Happy" shows up in the one-shot, it's written in katakana (ハッピー), identically to how it appears when it is used to indicate the name of the blue cat Happy. Although most Japanese people understand enough English to understand that this means "happy" as in the emotion, this word, when written in katakana and used as it is in this work, would be read first and foremost as a name, not a word in and of itself. It's sort of like if someone was named Mark; despite the fact that this is an actual English word that means marking, when you see the word "Mark" written like that, you automatically know it is a name.
The point of this one-shot is to play with this idea; on the last page, Mashima writes the word I've translated as "happiness" in Japanese, indicating that it is meant to be taken to literally mean just that. This, coupled with the statement on the preceding page that says that "my name is in everyone's hearts," completes the metaphor that "Happy = happiness." That is, everything Happy's said about his own name throughout the one-shot applies to the concept of happiness itself.
Quite a cute and inspiring little message, isn't it?
I know the world is a crappy, saddening place sometimes. Probably most of the time. But try to stay strong. And maybe, just maybe, do me and Happy a favor today. Think of that tiny little happiness in your heart and try to smile.
We're looking for two reliable new additions to our staff at the moment, and I figured I'd use the blog to give you some insight and details on a few things worth knowing and maybe get you interested in joining.
What we need is help in the typesetting department. In other words, copy/pasting the translation text into the bubbles of a page by using Photoshop. You can find a bunch of test pages and basic instructions in the Recruitment section of our website, though please make sure to send your application to smokybarrettms [at] gmail.com - and not the other email provided there.
You might wonder if you're suited to do this kind of thing if you haven't had any experience doing anything similar before - and the answer is a clear maybe. Honestly, we had people with years of experience with Photoshop apply before, and their test results were awful. At the same time tho, we also had complete beginners to any sort of editing software and they've since become integral parts of the team. It's all about whether you have an eye for what we're going for and the ability to learn the norms and standards - or not.
What you definitely need though is availability. I'll be mentioning times in GMT+0 format to make it easier to convert to whatever your timezone is. You should be able to help out with Jump, which we basically work most of Thursday on, starting at, say, 9-11am till, well, till everything's done, and the more of us, the faster it is, currently I basically do all three series on my own and work on that until about 4-6pm, depending on how wordy the chapters that week are. Then there's also the Monday morning, where we got FT and 7DS, plus other series at random times throughout the month. You don't need to be there for each and every last thing every week, that's obviously not expected of you, but you know, 3/4 of the time would be great? Haha.
In terms of time, I'd say 2-4 hours, on about 3 days a week, and you'd be a great help already, but talking from experience - we either had people join who could commit wholly and became core staff, dedicated themselves to working on whatever landed and whenever they could make it fit with their schedule - or they didn't stick around for long, helped with 2-3 chapters and then ran off because it wasn't what they expected it to be like, or I dunno.
If you're considering taking the test and applying at this point, then let me give you some words of advice: Read through a bunch of chapters of, say, One Piece, and Ippo or Fairy Tail. Don't read them for content, I mean look at the shapes of the bubbles we went for, look at the size of the text within the bubbles, how we change it from regular to bold italic for shouting bubbles, etc. Basically, try and imitate what you're seeing on the reader.
Later on, if your test results are promising and all, and we get to talk personally, I'll give you all the detailed instructions, like that you have to set the kerning to 'optical', that we always typeset with 'smooth' anti-aliasing and all the tips on how to make annoying lines fit while maintaining a nice shape (like reducing the width of certain lines within a bubble to get a perfect diamond shape and preventing a shitty one). You're of course free to implement these in your first test results already, by doing so you'd show me that you actually read this article until the end and aren't a complete waste of time to begin with, xD, but your main focus should be about getting good shapes, and nailing the font size appropriately for the bubbles.
I really hope to find some reliable helpers, good luck to you all. There isn't much reward for doing this other than the readers' moaning and bitching when we're 'late' or did something wrong, but the occasional simple 'thank you' and the fun that the typesetting process itself actually is, definitely makes this worth doing, or so I think, anyway.
Oh and feel free to ask any questions you may have in the comments, I'll try and answer the smart, sensible ones, since, well, contrary to the popular saying - yes, there are fucking dumb questions. :)
PS: If you're an experienced redrawer and/or have a graphics tablet, can handle it well and know how to use Photoshop, shoot me a mail too, I'd be happy to hear from you, since we definitely need some help there too so we can increase our speed.
Hey everyone. DzyDzyDino here.
It's been a little bit since my last entry. Since then, we've picked up a couple new series and have a lot going on this winter here at Mangastream. It's pretty exciting.
We've picked up-
Akame Ga Kill!
Seven Deadly Sins (Nanatsu no Taizai)
and also been working on a few of Matsuena's post-HSDK One-Shots. Got a few more things in the works as well, so definitely look forward to it.
Akame ga Kill and Seven Deadly Sins are both definitely "new" series, in terms of manga. Although we've hopped onto these partway through, and they already have a lot of established canonical vocabulary.
That's what I'd like to talk about a bit. What becomes standard, canon, or part of the fandom when a series starts.
This is pretty much completely up to the translator that starts the series. For example, we've had the opportunity of picking up Sukedachi 09 straight from the first issue. So far, I've found it to be an exciting series. Vox has been working with me on translating it and establishing much of the "standard vocabulary" for it.
What I mean by standard vocabulary is, for example, why in Naruto we referred to techniques often as jutsu, why sharingan and rasengan were left as such rather than translated. Kazekage. Konoha. Why some groups refer to Nine-Tails as Kyuubi, shadow clones as kage-bunshin, etc.
Every series has terms which either have decidedly more flavor left in Japanese, or has Japanese terms that have certain subtleties that get lost in translation. (Like the ubiquitous "nakama" from One Piece). Sometimes they're just for flavor.
Sometimes it's even done by the author, but gets lost because of lack of translation. Like the manga Akame ga Kill. It's literally アカメが斬る. Akame Ga Kiru. Kiru is how kill would be pronounced in Japanese, and written like this, it actually does mean kill... but specifically, to kill by slicing or slashing with a blade. Which ties in with Akame and her Murasame. The same Kiru is used in all the chapter names.
Often too, some terms or concepts, especially names, get "cropped" in favor of localizing the series. Where rather than explain some cultural reference or some deeper meaning, it just gets translated to something more convenient. Often these end up as reocurring themes that have to get changed every time if the translator chose to chop it out the first time.
For Sukedachi 09, we're trying to provide as much of the original meaning as possible. As it is, I'll try to provide either a blog entry or a featured comment in the Disqus comments at the end of the chapter explaining. I'm sure Vox will have some input on the chapters, as well.
I'll just throw out a few of the terms I bumped into in Sukedachi, and later on in Vox wants to add anything, I'm sure he will :)
First off is the name of the Series, Sukedachi Nine.
A literal definition of sukedachi (助太刀) is like backup, seconds, a guy waiting in the wings, perhaps even something like a tag-team partner waiting to jump in when you go down. It's written with with the kanji for assisting or helping (助 suke) + long sword (太刀 tachi). This is what's written on the backs of their uniforms.
The people that are sukedachi are referred to as Sukedachi-Nin (助太刀人). Nin means person (can also be pronounced jin), and is the usual ending for professions, much like -man is in english. For a more natural sound, I use Sukedachi to refer to the people as well. Like "We are Sukeadchi." as opposed to "We are Sukedachi-Nin", although you can't deny there's something interesting behind Sukedachi-Nin(e) :). The series is full of little wordplays like this.
The term for Vengeance they use in this series is is Adauchi (仇討). Which is pretty literally "vengeance" (as opposed to revenge (fukushuu 復讐). Sukedachi is sometimes used to mean vengeance in this series too, and depending on its meaning, I sometimes translate it as vengeance.
The term used for reversing a vengeance is Kaeri-Uchi (返り討ち). This term is so specific, that I've kept it in Japanese. Loosely, it can be used like turning the tables on someone. But literally, like when someone challenges you to something or is expecting to defeat you and you turn the tables on them. It also has a definition of killing someone would was trying to take vengeance on you. "Killing a would-be avenger." Rather specific, no? So I've left this as Kaeri-Uchi.
There's so much going on in this series, that if I were to fill up one blog post with all of it, it would go on and get really long. I'll leave you with two more chapter specific things on Sukedachi 09.
The "Cautious Driving" and "Presumptious Driving" from chapter 1 and part in chapter 2 were literally "Kamoshirenai-unten (かもしれない運転)" and "Darou-unten (だろう運転)". Unten means "driving". Kamoshirenai means "maybe", and darou kinds of mean "probably". The basis being the kamoshirenai-unten driver would always be like, "there might be someone around the corner. maybe i should stop and check this way and that way. maybe the light might turn red.". The "darou" driver presumes everything like "there probably wont be anyone at the intersection." "That guy will probably yield to me" "I can probably make this turn safely". and so on.
The names in this series are also very colorful. We'll take a look at the criminal's name for chapter 02. His name is Hige Gokuo (卑下獄夫).獄 is the Goku from jigoku (地獄) which means hell, and means prison (jigoku literally translates to earth prison). 夫 means husband or man. So his first name kind of prisoner or prison's husband.
It's his family name that's interesting. 卑下 (hige) means humility or self-deprecation. Putting yourself down. Etc. Not to the level of self-loathing, but still in that vein. Hige can also mean beard (髭), and this goes into play with the character, with the stubble on his chin. Apart from his catch phrase about his specialties, he has this phrase when he gets excited where he literally says "my beard is getting goosebumps".
That sounds a bit silly in English, especially when his name isn't "beard" in english, and in English beard is more a full grown beard and not just stubble.
Phew! That was a mouthful!
With all these new series, there's a lot of little bits I'd love to get caught up on. I'll try to write weekly and bring you all up to speed on all the little tidbits from these series. Sukedachi Nine is really promising and exciting so far, I have high hopes for it! If you haven't checked it out yet, try and do so!
Anyways, happy holidays! Have a merry christmas, happy hannukah, kwanzaa, whatever!
P.S. Because I said I would mention it, one more bit about Nanatsu no Taizai, there's the character named Death Pierce who popped up recently. Now, in Japanese, a Pierce (ピアス) is an earring or a piercing in the jewelry sense. The first part, DESUPIA kind of sounds like "Despair" too, which Oda used in One Piece in the Sky Piea arc, Enel's Ark Maxim had his dark clouds move called "DEATH PIEA" which also was a play on Despair and the whole sky piea/death piea thing.
Also something to think about, DEATH in Japanese is pronounced です which most easily e a conjugation of "to be". Therefore, dying and existing are the same word depending on how it's used. :)
Okay, Merry Xmas from us at Mangastream!!
Literal Translations vs Subtle Nuances
Sometimes translators have to make the choice between a literal translation and capturing the nuance and atmosphere of the dialogue. Literal translations give you the word-for-word dialogue in another language, but grasping the overall atmosphere of the scene is sometimes more important.
Kyouraku Shunsui of Bleach is a very charming, polite character despite how jaunty and lazy (and powerful) he can be. In Bleach 605, Shunsui adds the –san suffix on to the end of the word “Teki”（敵 which means “enemy”). He is referring to the Quincies in this context, and we can translate this a number of ways. Enemy-san, Teki-san, or Quincy-san, and so forth. But none of these fit in that well in fluid English, and this is where the overall nuance of the dialogue can take some priority. The –san suffix is added to show politeness, and despite the fact that the Quincies just came in and all but destroyed Seireitei, Shunsui has added the –san suffix on to the end of their collective term. He is trying to show cordiality and politeness when referring to them. Call it politeness or call it sarcasm, I have decided to translate “teki-san” in to “Quincy friends” in English, because this term in English seems to carry over well both the meaning, and the nuance that the original Japanese term (teki-san) had.
Shunsui also uses the word “Kureru” a lot when speaking about things that have been done, and this is also something that is extremely difficult to convey in English. There are various kinds of grammatical specificities such as “Kureru” that modify the nuance of a sentence/statement in Japanese, but for the time being I will focus on “Kureru”.
The grammar point "Kureru" is used in spoken Japanese a lot and mostly in the context of when someone has done something nice / a favour for you and you are trying to express gratefulness without having to outright state that you are extremely grateful.
For example, just so you can understand the nuance:
"Nanao-chan did all my leftover paperwork (Insert Kureru here) today".
This would express mainly the fact that Nanao-chan did indeed do the leftover paperwork, but it also shows that you are grateful for it.
Shunsui is stating that the Quincies shattered all of Seireitei -insert Kureru here-. This is perhaps more sarcasm, or just showing that Shunsui can make light of almost anything and take everything in stride – this nuance is very hard to convery – but it is important in conveying the intricacies of a character via their dialogue.
Literal Translations vs Metaphorical Expressions
Every language has some metaphorical expressions which are not to be taken literally. For instance, if I were a Samurai and I said, “I feel naked without my Katana”. What does this mean? I don’t really mean I feel like I have a distinct lack of clothing and I feel cold and embarrassed. :x In this context, it would mean I felt incomplete without my weapon of choice.
There has also been a lot of discussion about whether Ichibei told, or did not tell, Yhwach that his throat would be Crushed.
The Japanese for what Ichibei says is "Nodo ga tsubureru" (喉が潰れる).
Nodo = Throat
Tsubureru = Crush
So yes, it literally means that throats shall be crushed. But no Japanese native speaker will take it that way.
What it really means is
"You will lose your voice / your voice will go hoarse".
If you look at Bleach 605, Yhwach did lose his voice. It can then be argued, sure, that he did go and destroy his throat by plunging two fingers in to it (ouch) to regain his voice so the expression may have had some sort of a double entendre.
As mentioned above, however, no Japanese speaker would take that expression literally to mean a crushed throat. That would be akin to native English speakers reading about a grand heist at a casino in Vegas being a “close shave”, and then proceeding to conclude that the entire operation had been about the thieves using razors to intimately shave each other. Just, no.
Come on guys, some phrases shouldn't be understood literally or the true meaning is totally just gonna go over your head. (Unless nothing goes over your head because your reflexes are simply too fast…)
The vagueness of a sentence without a subject
In Japanese, when you speak you don't actually need to indicate a subject. You can just pick up a conversation without explicitly indicating what/who it is you are talking about. This can sometimes make it very hard to discern what is actually being discussed, and consequently prove difficult to translate.
In the scene when Ukitake is discussing the Quincy Invasion in to the Royal Realm, it is not actually clear who it is, that Ukitake is saying has "let" the Quincies invade the the Royal Realm. (“Let” can be otherwise understood as “failed to stop”.) Ukitake could be meaning Shunsui, or he could be the Royal Guard. Shunsui does not confirm or deny whether it is himself in the next panel, he just goes on to ask Ukitake if he has realised that this is as predicted - the "Kamikake" is *doing something/been put in to action* and seems like it's successful.
To discern whether Ukitake is indicating whether it is Shunsui or the RG that have "let" the invasion in to the RR happen, the general path to take is to think about within whose power it is to have been to "prevent" it. I had thought it was primarily the RG who were responsible for letting Yhwach take a walk around in the RR, so I had translated it as "They". But the Chinese scanlations team has put down "you've" as the pronoun, indicating that Ukitake is speaking directly about Shunsui. This can also be correct. Note that this sentence is just plain vague, and there isn't really a way to be 100% sure unless you gave Kubo-sensei a phone call yourself.
Also, do note that this entire statement by Ukitake is a conjecture based of what Ukitake has caught wind of to bring up a point with Shunsui.
When new concepts/objects/skills are brought in to a Manga
When a new move, or a new object, place, skill, concept, or character – is brought in to the latest chapter, translators have to make a choice on whether to translate the name in to English words, or leave it in the original Japanese and add some notes. In most cases, the latter is the safer choice but even then, to try to understand the introduction of something new may take a lot of research and background knowledge.
What is a Kamikake? No one knows at this point, but most Native Japanese speakers see the word as a derivative of the word “Gankake” which is a Shinto/Buddhist prayer.
Kamikake comes from that same vein, except for fictional purposes, the "Gan" has now become "Kami".
The entire dialogue of Ukitake discussing the Kamikake, I interpreted to flow something like this:
The Quincies successfully set foot in the RR > Someone (Likely Ukitake but maybe not) predicted that the RR shall be invaded by Quincies > The Kamikake is set in motion > The Kamikake seems to be working in their (SS) favour.
In time, we shall see what the Kamikake is.
Senri Tsuutenshou 千里通天掌 (Ichibei's giant palm)
Just wanted to talk about the origins of this skill and what it's likely to be based off.
This palm is based off the palm of a buddha called "Ru lai". (and Ichibei is a monk! Ah-hah! )
It's actually extremely difficult to find English material about this Buddha in question, but in my own words, this Buddha has a palm that can extend to infinity. This skill is most famous in Journey to the West, and for all I know it probably originated from there. (Journey to the West is a Chinese Classic Novel published in the 16th century and is widely used as an inspirational source for many fictitious stories and games today)
This reference of the all-extending palm that you can never run away from is so well known amongst Chinese kids (because Journey to the West is the childhood story almost all Chinese kids grow up with) it's often used jokingly (or half jokingly) to describe one's mom.
This is an extract from the Wikipedia Article of Sun Wu Kong, which narrates Wukong's experiences with Ru Lai Buddha based on events which happened in the Journey to the west.
With all of their options exhausted, the Jade Emperor and the authorities of Heaven appealed to the Buddha, who arrived from his temple in the West. The Buddha made a bet with Sun Wukong that Sun Wukong could not escape from Buddha's palm. Sun Wukong, knowing that he could cover 108,000 li in one leap, smugly agreed. He took a great leap and then flew to the end of the world in seconds. Nothing was visible except for five pillars, and Wukong surmised that he had reached the ends of Heaven. To prove his trail, he marked the pillars with a phrase declaring himself "the great sage equal to heaven" (and in other versions, urinated on the pillar he signed on). Afterward, he leaped back and landed in the Buddha's palm. There, he was surprised to find that the five "pillars" he had found were in fact the five fingers of the Buddha's hand. When Wukong tried to escape, the Buddha turned his hand into a mountain. Before Wukong could shrug it off, the Buddha sealed him there using a paper talisman on which was written the mantra Om Mani Padme Hum in gold letters, wherein Sun Wukong remained imprisoned for five centuries.
Journey to the West has been the inspiration for many games and fictional works, the more you read about it the more you realise! Some examples are, Son Goku from Dragon Ball, Wukong from League of Legends, and the Saiyuki Manga, for starters.
I just want to say that Wu Kong is my childhood hero.
That’s about it from me, sorry it’s so long – hope it gave a little bit of insight in to what it is to translate between Japanese and English, and some of the choices translators have to make to bring out the most accurate portrayal of a story to the readers.
Timeskip 15 years later! Naruto is over!
We made it, everyone! What a ride it's been, too.
So we had a color-packed fanservice filled harry potter epilogue style final chapter to top it off.
Lots of ____ X ____ shipping dreams come true. We have Naruto's kid, Bolt. Though the feeling gets kind of lost pronouncing it like you would in English, "Bolt." Just like you would pronounce "Na-ru-to", his name is "Bo-ru-to". When said in Japanese, the names sound very similar.
When I was looking at Neji's gravestone, I got really confused. For some reason, this had never clicked in my head before. Maybe because I wasn't really translating Naruto during any major arcs with Neji or Hinata, but Hinata's name is always written in Katakana, just like Neji. Their family name, "Hyuuga" is written in kanji as so 日向 which means "in the sun" or "a sunny place" and is read... as "Hinata". So if you didn't know that the family name was actually read as "Hyuuga", you'd look at Hinata's name and think, "Hinata Hinata?". Coincidentally, 日向く would be what sunflowers or "Himawari" do, "face the sun". Okay, pretty dumb and not all that interesting, I know, but I thought it was funny just 'cause I never noticed it. Chances are you all probably did.
So, as you probably know, Japanese sentence structure is Subject Object Verb, different from the general norm of Subject Verb Object. In Japanese, you wouldn't say, "I go to the store." It would be more like "I to the store go." In other words, everyone talks like Yoda.
What I find funny about that, is that the way Yoda talks in The Empire Strikes Back, he adds dramatic pauses to his sentences via phrasing only possible with a Subject Object Verb language, as so often happens in manga. Imagine: "A powerful jedi... you will become." - "A powerful jedi... you are not."
There's a pause after the subject/object in the sentence. You're thinking "A powerful jedi! A powerful jedi what?! Will I be one? Won't I?"
Instead of "You will become... a powerful jedi." "You are not.... a powerful jedi." where you think "I will become what? I am not what?"
The feeling is completely different in the two, and the emphasis and suspense gets placed on the verb, in other words, what will happen/is happening.
A common cliche that pops up in high school romance and shojo manga is the heartthrob boy coming up to the tsundere girl who secretly likes him, and he says "Ore wa... Makoto-chan no koto... ... ..." and then gets interrupted or says something completely opposite of what she was expecting. The expected "cliche" completion of that sentence would be "suki desu.". This would be the equivalent of "I... really love... ... ..." the girl's heart starts beating faster. "Yes?" "I... really love... cashews." followed by the fall take, and some raging anime eyes and smashing heads and such. But the feeling is slightly different. You know the sentence involves him and her. He... something... her. and what that something is is the focus of the suspense and ambiguity. As opposed to the action being clear and to whom or what he is acting upon being the suspensful part of the phrasing.
So when people trail off in sentences, or intentionally leave them incomplete, depending on what it is, it takes some interpretation to convert it to English in a meaningful way. You can't have Naruto say to Sasuke, "Someday... I *mumble cough* you...". Perhaps from the conversation it's implied, he'll see him again one day, he'll save him, he'll bring him back, they'll be together again, whatever. But it could just as easily be, I'll defeat you, I'll kill you, I'll knock your teeth out, I'll bitch slap you for every single time you've said the word "revenge" over these last 15 years, etc. Context is so important.
Which is why it's really important for a translator to kind of be caught up on a series and have a general idea of what's going on and who's who. It can also be very hard sometimes to translate just one bubble by itself with no given context around it for the same reasons. Even being familiar with a series, we'll miss things.
As intended for a reader in Japan, they're expected to see some things as vague or alluding to something they're not sure what, or referencing something they kind of remember from before... well, the hardcore readers will know all the references... and translating, we have to be at that level as well, so that we can properly translate the references and the inside jokes and all that -- because just being a word for word translate bot definitely isn't going to cut it.
None of us claim to be all-knowing oracles of knowledge on the series we translate, but we have an awesome team of great people here at mangastream, and between all of us and the actual all-knowing oracle that is google, we often come up with the answers we need.
Okay. Little boring today, but we've got something pretty interesting and exciting up our sleeves. Expect a hefty interesting blog post when we release that. Otanoshimi ne~!
Hello there everyone, voxanimus again. You were all so kind in your comments on my last blog post that I thought I'd do another one. Well, that and this week's One Piece chapter has yet again a lot of stuff I want to talk about. I think.
Anyway, let's get the more lighthearted stuff out of the way. Several characters' full names were revealed this week, and I wanted to give some background on the references contained therein. Corazon's real name is Rocinante, or the name of Don Quixote's horse in the eponymous book. Law's name contains two references to the Napoleonic Wars: the Battle of Trafalgar is a naval engagement in which British forces led by Horatio Lord Nelson sunk 22 French ships without losing a single of their own. "Water Law" is a transliteration of the Japanese pronunciation of "Waterloo," the name of the battle in which Napoleon was defeated once and for all. Japanese has a habit of using the native pronunciation of a word when adopting it into Japanese; the Belgian pronunciation of Waterloo is closer to "Water Law." This means that transcriptions of the name as "Watel" and the like are clearly wrong. On the heels of this fact, I would like to make a request to all of you readers. Please refrain from commenting other scanlation groups' translations—be it of names, attacks, or dialogue—in the Mangastream comments section. I find it disrespectful to not only my work but that of our other translators. We spend no small amount of time and effort trying to come up with the most faithful and appropriate renderings we can of these manga, and to ignore that work is not very nice, to say the least.
Now, let's talk a little about the main underlying reference of this week's chapter. Again, though, to understand it, we need a bit of historical background.
Following Japan's defeat in World War II, the Allied Forces insisted, as part of the war reparations, that Japan move away from its imperial government and towards a more democratic one. Pursuant to this goal, Emperor Hirohito was required to issue a statement officially renouncing his status as living god, which would thereby decrease his monarchical right to sovereignty and pave the way for the writing of a new Japanese Constitution that would formally enshrine democratic power as the de facto arbiter of Japanese politics. The Emperor and the Japanese royal family would remain as mere symbols of the Japanese government, with little real power. The name of this declaration was 人間宣言 (にんげんせんげん, ningen sengen), which means "declaration of humanity." Sound familiar?
It is certainly very evident that Doflamingo's father's descent from the Holy Land and attendant renunciation of holy status is at least superficially similar to that performed by Emperor Hirohito following World War II. But the similarities do not run as deep as they did last week. Doffy's father's reverse apotheosis, if you will, caused his family to fall into ruin, as they were preyed upon by those they used to rule. Yet, on the other hand, Hirohito's renunciation of divinity was, at least in the long run, a very good thing for Japan. It allowed for the appointment of a Japanese Prime Minister and governance power to rest almost wholly in the hands of the three branches of the Japanese government.
In truth, though, Japan was actually occupied by Allied forces (in effect, the United States) and the majority of the governmental and economic reforms implemented following the war were done so at the behest or even command of the occupying forces. While it is probably not disputable that the long-term consequences of Allied occupation of Japan were beneficial, the attitude of the average Japanese citizen towards the occupation itself is less clear-cut. Some believed that the somewhat ham-fisted occupation's use of power hearkened back to the pre-Meiji days of the shogunate.
Ultimately, I cannot say whether or not Oda is trying to critique, using Doflamingo's family as a foil, the treatment of Japan at the hands of America following the Japanese emperor's renunciation of holiness. I was neither alive during the occupation period nor have I been to Japan and had a chance to talk with Japanese people about this. In addition, attitudes toward these sort of political issues vary from generation to generation, and I know not which generation's reaction Oda is calling upon. What do you think? Leave your opinion, or any suggestions or feedback, in the comments below.
Stay frosty, friends.
So, it really is happening, and sooner than most of us thought. November 10th (officially, as usual we'll get it a few days earlier), or in other words, 5 more chapters to go.
This 'thread' here is for you to post your feelings and thoughts about Naruto coming to an end.
Also very welcome are any and all kinds of predictions on how you see the final 5 chapters going - what will happen? Will Naruto and Sasuke even fight at all, considering how little time is left for that? Will Kishimoto solve this final conflict that we've been all waiting for with another 'Talk no Jutsu'?
Finally - what are your wishes for the future? Would you all be into a continuation of some sort? Naruto GT, with their kids or grandkids taking over? Or just let it end and rest in peace - we did have a great ride after all, especially in the early beginning, pre-shippuuden - in my opinion, anyway.
Anyway, any and all thoughts are welcome.
Hello everyone, voxanimus here. This week's One Piece was rather sui generis as far as One Piece chapters go, and I thought I'd write up a little blurb explaining, at least in part, the references and allusions Oda-sensei was making, some of which are not immediately apparent to non-Japanese audiences. (Of course, the real reason I'm writing this is that dino has done more than a few of these sort of things by now and I can't let myself be bested by the likes of him.)
First, though, I'd like to discuss the name of the "amber lead" substance introduced in the chapter. I was rather conflicted on how to translate this. The Japanese word used by Oda is 珀鉛, one that, as far as I know, does not exist anywhere else in Japanese literature. It is not a known Japanese word and has only really been used this one time in One Piece. The first kanji in the word means "amber," as in crystalline tree sap. The second kanji is a common one and means "lead," as in the poisonous heavy metal. The problem is that the kanji for "amber" contains the radical 白, which means white, an obvious nod to the actual whiteness of the substance. Translating 珀 into English as amber causes it to lose that nuance. Secondly, the pronunciation of 珀鉛 is hakuen (はくえん), which is actually a real Japanese word when written with different kanji (白煙) one that means "white smoke." Again, this is a reference to the whiteness of the substance and the whitening it causes in those poisoned by it. Ultimately, I was unable to find a word that could capture both the "amber" and the "white" nuances simultaneously and resorted to a literal translation, along with the resolution to explain the subtleties of the name separately.
Alright, let's move on to the actual content of the chapter. I—and, looking at the comments, several of our readers—was taken quite aback by the graphic, frankly gory content of this week's chapter. This is not the first time Oda-sensei has given a central character a tragic past but it is perhaps the first time he has done so so gruesomely. His reasoning behind this grisly portrayal is, however, probably more understandable once one realizes the references underlying it.
Characters and entities in the world of One Piece are often purposefully juxtaposed against one another by Oda-sensei in an effort to critique or call to attention aspects of the real world. The Tenryuubito are a classic example of the ills of a class system and feudalism; the World Government is the archetypical example of a despotic military tyrant, etc. Despite the seemingly childish superficial appearance of the manga, One Piece is surprisingly mature in the themes and motifs it chooses to tackle. This week's chapter brought to light a similar theme, one I daresay is close to the heart of many Japanese.
First, a little historical background. Compared to the rest of the world, Japan's industrial revolution came very late and very rushed. The Tokugawa Shogunate, a feudal government complete with daimyo and shogun and samurai, continued uninterrupted from the early 1600s up until several years after the arrival of Commodore Perry's Black Ships in 1853. Japan only began its Industrial Revolution in 1870; most of the world's nations had finished theirs by 1820. Japanese conquests of Northern Asia including China and Russia in the early 1900s further increased the need for modern technology and the industrial infrastructure required to produce it. Japan was able to meet this demand, but at significant cost.
Pollution, particularly from mining operations, went virtually unchecked as the need for metal for the production of weaponry was paramount. Cadmium runoff from the mines contaminated nearby rivers, and water from the rivers was used to irrigate nearby rice fields. The rice absorbed the heavy metal and it began to accumulate in and poison the people that were eating it. Two of the most prominent symptoms of cadmium poisoning are calcium depletion, which causes softening of the bones—so much so that the entire body begins to hurt—and anemia, which causes paleness of the skin because of lack of blood. The pain all over the body was severe enough that cadmium poisoning was named "itai-itai byou" (イタイイタイ病) in Japanese, which literally translates to "ow-ow disease."
At this point this should all sound rather familiar. It's no coincidence that the genesis and symptoms of amber lead poisoning in One Piece pretty much exactly mirror those of the real-life cadmium poisoning that occurred in Japan in the early 20th century. I cannot be certain, but I would venture a fair guess that this historical incident was what Oda-sensei was referencing in this week's chapter. In fact, itai-itai disease is just one of the Four Big Pollution Diseases (四大公害病, yondai kougaibyou) that plagued Japan in the first half of the twentieth century as a result of mismanagement of toxic industrial waste. The first, itai-itai disease, predates the other three, which occurred in the late 50s and early 60s, by 40 or so years. Those interested in reading further should check out the Wikipedia article on the topic.
Well, that ended up being less of a blurb and more of an essay, so for those of you that have made it this far, I thank you for your patience. Feel free to ask any questions you may have on this issue or other things relating to One Piece and its translation in the comments, I'll be around to answer them. Also, if you liked this, and would be interested in reading more blog posts like it, do let me know.
And thus yet another amazing series comes to an end. Thank you for reading along with us all these years!
Claymore was one of my favorite manga series since long before I joined Mangastream several years ago, and it’s been a pleasure to translate it for the better portion of the past two years. Wikipedia tells me that Claymore debuted in 2001, and I guess Yagi-sensei deserves a break after all these years. Let’s look forward to his next work!
With the end of this series, I would be remiss in not acknowledging the work of my fellow staff members, as well as the incredible translation work of my now-retired Mangastream senpai gernot, who was translating Claymore with the highest quality years before I came on the scene, and is responsible for much of the definitive Claymore scanlation out there today. I have strived to follow through in kind. It’s been an honor to carry this series, one of my personal favorites, through to the end (and hopefully in a worthy fashion).
Thanks again to all of my fellow staffers for seeing us through, and thanks again to all the MS readers!
So although HSDK has had an abrupt finale, Matsuena Shun-Sensei is by no means done. He'll be releasing three one-shots, each featuring some color pages and all ranging around 44-46 pages. They'll be coming out in consecutive weeks, in consecutive issues starting in mid-November.
The first one, coming out on 11/12, is titled "Kanata"
The second, coming out on 11/19, is "Haruka"
And the third, releasing on 11/26, is "DemIII"
Check out the raw page we uploaded at the end of the final chapter to get a tiny preview of 'em.
We will be releasing all three of the one-shots. The above dates are when they hit the shelves in Japan. We're not sure exactly when we'll be getting RAWs, but as soon as we do, we'll be working these out.
Anyways, thanks for reading HSDK with us for all these years!
Make sure to check back for the three one-shots!
I don't know where this began -- I'm sure it stems from all the martial arts oriented fiction from China with warriors with long-winded names (Iron Crane Atop the Waterfall) and their trademark weapons or techniques. That probably echoes the martial arts which also has these names for their postures. The names are metaphors, both descriptive and inspirational. "Young Maiden plucks the Shuttle from the Ocean Floor" in Tai Chi, as a descriptive name but also an image to help meditate upon the move and its meaning.
Regardless, nowadays it's just a given in manga and anime. A lot of times they even have injokes or break the fourth wall to joke about it -- they name their techniques. It's a thing. It's geeky. We love it, kids love it. Nothing more badass than a guy with an awesome name for the move he throws at you.
This also is a large point of contention among fans. Those that prefer the Japanese, and those that prefer a translation of the Japanese. A lot goes into deciding which to use, there's no real right or wrong answer for this and sometimes the fans just prefer one over the other. Many times when trying to figure out exactly what the spelling of an attack is supposed to be, the "meaning" of the attack helps to figure it out.
The Hissatsu or Ougi that characters utter before attacks sometimes is just them declaring they're about to use a special technique.
Hissatsu (必殺) literally translates to "certain kill."
Usually a Hissatsuwaza (必殺技) or "certain kill technique" usually is accepted as "special move" -- the definition of which, I'll leave up to you.
Ougi (奥義) is also another one. The general definition of this is "Hidden attack" or "secret attack." Usually it's not so secret, but usually it's pumped up in storyline as the secret techinques of some clan passed down or something.
In reality, these terms are used interchangably along with some other ones and whatever the author feels like creating. Video games like fighting games may use the two to differentiate between a "Special Attack" and a "Super" or something like that.
Other times, the person will have a fighting style or type of magic or something they use and they'll call that out before every attack. "Okama Kenpo!!" (Transvestite Fist Way) "Santouryuu" (Three Sword Style) whatever, followed by the specific move.
As for a reason, I suppose it's just kinda badass. A point of pride maybe, "You know it was ____ badass attack that gotcha." Even in the western world, this is kind of echoed in Pro Wrestling, although they dont really (or do they?) shout out the names of their attacks. They're "representing" their styles, I suppose -- though usually in manga/anime, there's almost this unspoken rule that it's almost like an incantation, like the attack wouldn't work if this wasn't declared before it. (Come on, how many of you as a kid thought by shouting "Kamehameha" loud enough... just loud enough... ah, nevermind.)
Once getting into the naming of the attack, this is where authors get a lot of language play.
One thing they do is create combinations of kanji. The kanji they use to name the attack aren't always official combinations, but creative combinations with an implied meaning. Just like in English, if a villain used a "hyper-electro-flashbolt" you'd kind of know it was some fast electric projectile or something, even though that's not a real word.
But because the compounds aren't official, they don't always have official readings either. Here, authors often use furigana to their advantage. I talked a bit about furigana before, but essentially it's the small characters printed next to kanji in some publications that gives the pronunciation or reading of that kanji (in order to help the reader).
Authors use this at times to imply meaning or give the reading they want. The same is true with attacks. When that happens, it becomes a pain in the ass to translate at times -- especially when the reading either has nothing to do with the kanji or is in a foreign language. Usually, we take the meanings of the kanji as a clue on where to start. Sometimes it's easy, sometimes it's way out there.
For example, in the recent issues of Toriko, the Horse King used an attack known as "Destroy Breathe." The furigana was written as "desutoroiburiizu." So, why not "Destroy Breeze"? -- Well, apart from that being pretty stupid (as if a manga never did anything stupid...) "ahh run away from the destroy breeze!!" etc... apart from that... we take a look at the kanji (the chinese characters) that the attack is written with.
Now, normally that would be read as "zetsumetsu no kokyuu" which translates to "breath of destruction." The author, however, gave it a different reading -- the name that he wanted for the attack, with the kanji to provide its meaning. Hence, we go with "Destroy Breathe."
The kanji and the reading don't always line up so nicely, and sometimes the intent is pretty damn obscure.
And of course, you get the times where they don't give a foreign language name to the attack, and leave the kanji as Japanese. In those cases, we (at mangastream) almost always give the Japanese name for the attack, followed by its translation in a note. For some series though, the fans have accepted an English name for a technique.
Kage Bunshin or Shadow Clones? Haoshoku, Kenbunshoku, and Busoshoku Haki or their many other accepted translations?
Also, because the Authors take freedom in naming their attacks, often with katakana for using words from another language, sometimes deciphering their names and how to spell them in English can be a nightmare.
As many of you do know, katakana is a phonetic alphabet "a e i o u ka ki ke ko ku ta chi te to tsu sa shi se so su etc etc etc..." so to spell out certain words in Japanese, they have to approximate. Sometimes it works out very easy with minimal changes. Point = po-i-n-to. band = ba-n-do.
Sometimes it's a little bit of a stretch. party - pa-a-ti. hamburger - ha-n-ba-a-gu.
Sometimes it's way out there, like the ever infamous McDonalds = ma-ku-do-na-ru-do. Anything with a th is always fun. Three = su-ri-. Earth = a-a-su.
Shove it up your Earth.
So, when the possible word can be any language at all, the kanji (that is, when it's there) is the only thing we've got to cling to for any clues.
In One Piece recently, someone used an attack called "Za-n Te-gu-ju-pe-ri"
I remember being stuck on that for a very long time, with no idea what I could do with it. Xantac Jubilee? I was really lost. The kanji was my only real hint.
斬・星屑王子 (Zan - Hoshikuzu Ouji) (Slash/Behading - Stardust Prince)
Okay. The Zan means "beheading" or "slash", but the reading was left intact as "zan" even though the rest of the characters aren't even close to the same. Why?
This was in One Piece, and Oda loves to use puns and plays on words. Therefore, I assume the Zan is going to be just that. He wanted it to be a kind of slash, but it's possible the word is San and not Zan and he's just making a play on words.
The first thing that came to mind, admittedly, when I saw Stardust Prince was Katamari Damacy. After I abruptly gave up on that avenue, I also thought of what's known in Japan as "Hoshi no Ouji-sama" lit - "Star Prince" a.k.a. The Little Prince (Le Petit Prince). If you've never read it for some reason, it's a classic.
It's written by Antoine De Saint-Exupery... and a quick google in japan's wiki confirms it. Saint-Exupery is written as "sa-n-te-gu-ju-pe-ri"
Oda replaced the San with a Zan to fit make it a play on the name, but the name of the attack would be spelled "Saint-Exupery".
Other times kanji could be like "Spinning scythes of bloody murder" and the reading could be "corn on the cob" or something completely unrelated to it.
A lot of time, there's subtelty in the word play that can't be translated in any way, so more often than not new attacks are accompanied in our translations with a translator note explaining it. We try to be complete to make sure you're not missing anything, but in the end we still have to decide what goes in the bubble.
Translations are just that. They're never going to be a perfect equivalent of the language, but we strive to bring you translations of a high quality that read naturally in English and that are enjoyable. By learning a little bit about Japanese, it helps you better understand the context and content a bit more. Though a lot of this, you probably pick up on gradually as you read manga on your own, there's always so much I wish I could add with each chapter.
I had a lot more to say, but this is already pretty damn long already. Till next time!
There are many issues to face when trying to translate from Japanese to English, as it's not always a direct one to one translation.
In fact, it rarely is.
Many words and idiomatic expressions don't have an English equivalent, some things need cultural context, and so on. Right now though, I wanted to talk about names. Names that aren't native to Japanese in particular.
I'm sure many of you already know this, but written japanese is made up of Hiragana, Katakana, and Kanji.
Kanji are Chinese characters. 忍、念、男、女、刀 星、闇、殺
But of them, Japan has designated roughly 1,945 for general usage. Each one has its own (sometimes multiple) meaning, and multiple pronunciations based on context.
力 means "strength" and is pronounced "chikara" however it can be pronunced "riki" when used in certain combinations.
馬力 bariki "horsepower" or it could also be "ryoku" when combined here 協力 kyouryoku "cooperation".
Hiragana and Katakana are Japanese Alphabets. These characters have no meaning on their own. Each is a phonetic (A, Ka, Sa, Ta, Ha, Ma, etc.)
Hiragana are used for native Japanese words and parts of speech. It looks like this:
Katakana on the other hand is used for non-native Japanese words or certain kinds of emphasis and looks like:
So for every name that is not a traditional Japanese name, it ends up spelled out phonetically within the constraints of the Japanese Alphabet. While some are fairly obvious or use common conventions for converting to English, others can be much more obscure. There's not necessarily any fully right way to go about it. There may be some outright wrong ways at times, and some almost certainly correct ways but you can never be certain until the author states how it's spelled in English.
For example, let's look at the character who up till recently was known as "Branchi" in Toriko.
His name was spelled out as BU-RA-N-CHI.
The first thing I do as a translator is look at it and see if it resembles any real life names.
Next, I just go over some possibilities: Branchie, Branchy, Buranty, etc...
Without finding anything I was too excited about, I stuck with something close to the phonetic pronunciation and hopefully safe... "Branchi." (Was never happy with that.)
Recently, "Buranchi" was revealed to be one of a group of three characters.
The other two were "DI-N-NA-A" and "NO-SHU."
So with "Dinner" and "Nosh" as two parts of a three man set and trying to figure out how "Branchi" fit with that, his name suddenly became obvious:
Until something gets officially printed, it's pretty much up to the translator's discretion to decide what's gonna pass as a character's name.
Once something appears in canonical print always takes precedence.
That's a general golden rule.
For example, Roronoa Zoro.
I had always assumed the Zoro was after Zorro, the masked fictional character.
(I could be wrong on that part.)
However, as for the name "Roronoa"--
"Roronoa" is undoubtedly "L'Olonnais" from Francois L'Olonnais, a french pirate.
Buuuut his name has appeared as "Roronoa" in print by Oda numerous times, so Roronoa it is.
That's just the tip of the iceberg really. Once you get into the names of attacks and techniques or made-up concepts, along with creative and inventive kanji usage, there's a whole other world of interpretation to deal with. But I think I've rambled long enough for now.
If you found any of this interesting, had any questions about any of the translation process, drop a comment and I'll do my best to get back to you!! I find this stuff interesting myself and thought you might.
Thanks as always for reading.
Figured we'd write a little blog post about those color pages in this week's chapter, as I'm sure they'll cause a lot of controversy and discussion. So I asked our translator dzydzydino to read them and give us a quick summary. He ended up ranting towards the end, but it makes a good post nonetheless. :D
So, this week's Naruto came with a little two-page color spread before the comic about the upcoming Naruto movie, entitled "The Last" ...which of course launches all kinds of speculation as to whether or not it's actually going to be the last Naruto movie or signifying and upcoming end to the series.
Nothing about that is mentioned. However, we do see some sketches by Kishimoto, who will be writing the story and doing character design for the movie. The pictures we see are of a grown up Naruto, under a title "Curtain Call on a New Era" Naruto Project. Lots of fancy big text like "AT LAST" "LONG AWAITED" "NARUTO PROJECT FINALLY IN ACTION" etc. etc.
Is there a forseeable end in the future of Naruto?
Personally, I think if the series is gonna end, it's either gonna be with Sakura dead or Sasuke. Though who knows... we all might be happily ever after, after all. Or we might be happily reading Naruto in 2020, and Kishimoto and Jump might be happily cashing in on 21 years in print.
If the series is actually ending, I'll probably be a lot more accepting of whatever happens. I know Kishimoto has written some of the Naruto movies before, but after seeing enough non-canonical filler-worthy movies written by assistants and asshats alike, I've stopped watching spinoffy movies.
Though there's something universally fanservice-y about seeing your favorite characters all grown up... like the end of Harry Potter. It's a given though--It's why every major series always has a timeskip. So kids can growup alongside their manga. So fart and boob jokes can turn into Kamehamehas and Rasengans.
Regardless, it's been a long run so far, from its start in 1999 to now, it's 15th year in 2014. My interest has varied from feverish to casual over this series throughout those 15 years, but I have always come back to it at some point.
I happen to be enjoying it currently, and wouldn't mind it ending on a high note as opposed to slowly fading into obscurity and getting cancelled.
Opinions? How do you feel about the story currently? Is the end nigh? Must we repent? Shannaro~
Since the beginning of the series, Naruto spread messages against hatred and war. You could notice it already in the first episode, when Naruto declares his wish to be Hokage and prove himself in the eyes of the villagers who hate him, and later on when Iruka accepts Naruto as a human being and not a monster that killed his parents.
During the pre-Shippuden part, these kind of messages keep popping up in some occasions. For example, Naruto's speech in the Zabuza arc in attempt to explain that ninjas are people with emotions and not just tools of war. But the important thing for this discussion is; the message of the manga was never a main key element in the plot itself at that time.
The focus changed during the Shippuden part, and the message of the series became the main topic of the story. You could see it clearly in the Pain arc and Nagato's ideology of "The Cycle of Revenge". The manga's message, brought to the readers by Naruto, is that hatred and war can be stopped if people choose to cease violence. In this particular case - not killing Nagato and avenging the death of his beloved sensei. Eventually, Naruto beats Nagato by the infamous "Let's Talk no Jutsu" which most of the readers feel uneasy with.
Now, let's discuss recent events. Since Sasuke's defection from Konoha, the readers expected the manga to end with a final clash to the death between him and Naruto, who both were presented as eternal rivals since their bromance in episode 3.
But it's not going to happen.
Why is that? Mainly, because it will contradict the entire message of the manga. This turn of events was hinted since Hashirama's story about the founding of Konoha with Madara in hope to stop the blood spilling between the clans, and became even clearer by Naruto's and Sasuke's recent conversation with the Six Paths - in order to achieve peace, the endless fight between Senju and Uchiha must stop. Naruto and Sasuke fighting to the death now would only mean that nothing has changed.
So here lies the conflict: What should a writer do - fulfill the readers' expectations or stick to his message to the end, whether the readers like it or not?
Note: This blog post was devised and written by adi P. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
These two spin-off chapters were serialized in the debut issue of Mashima's own, new monthly, "Monthly Fairy Tail Magazine".
The first, Fairy Tail Zero, details the meeting of the founders of Fairy Tail and exactly what happened between them to lead them to found the guild. Ice Trail is a spin-off manga concerning Gray.
Both were written under Mashima's supervision, but while Mashima personally draws Zero himself, his executive assistant Shirato Yuusuke is the artist behind Ice Trail. Both are therefore official canon. Also published in the magazine are two special art pieces of Natsu and Igneel, which we have included as part of the first chapter.
Both of these series are monthlies and we will continue to cover them as they come out.
I recently watched the Death Note anime and I noticed that, aside from a handful of scene changes, it was almost shot-for-shot with the manga. There was no filler and besides translation differences, the dialogue was pretty well the exact same the entire way through. I found that this actually hurt the anime, as characters continually explaining what they just did really slowed down the action, and there was no improvement on the disappointing ending.
This got me thinking on manga adaptations in general. Manga is a unique form of story telling, as it provides a fully-functioning storyboard within its medium. This means that most anime will just be a colorful, moving read-aloud of the manga they are based on, with almost no artistic liberty given to the script writer or story boarder. As well, seasons are generally not limited to a small, abstract number of episodes, so the story doesn't need to be shortened.
Now, compare this to other stories: novels have to be compressed to fit screen time, so many scenes are removed, added or changed; American comic books have inconsistent plots written by multiple authors, so a few concepts and characters are chosen and turned into a screenplay; most TV series are very episodic, so reboots just create an entirely new plot. This method of interpreting a story, opposed to adapting it, is a double edged sword. Sometimes, through inconsistencies or just sloppy production, the interpretation does not do the source material justice. Meanwhile, there are others that have taken the story above and beyond what it had been before, albeit in a changed fashion.
So, what if we were to apply this concept of “interpretation” to manga? Say an animation company got the rights to reboot a big anime, like Dragon Ball or Full Metal Alchemist (or, most recently, Sailor Moon), this time with the artistic freedom to change the story as they pleased, while keeping to the very bare-bones plot. Would you, as a manga reading community, welcome the change and like to see how things could be done differently? How many of you would say that the changes could somehow “ruin” the source manga, and why? What series would you like to see changed into an interpretation, rather than a simple manga adaptation? Any suggestions of your own on how you would change a favorite story in a more cinematic way?
Note: This blog post was devised and written by Adam. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
Whenever I read manga, one thing I value very highly (since it helps me enjoy the fighting more) is the attention to proper power scaling and balance with regards to power ups. By power scaling I mean keeping in mind a definite level of power and ability for characters and using that to relate to how they fare in battle with their opponents. Even when this isn’t explicitly shown (as in Dragon Ball Z), I find it helps me enjoy it a lot.
An example in One Piece, is seeing Usopp going against Trebol and Sugar, knowing there is no way he can win against them and wondering how Oda is going to pull a victory off. Mangas I think have good attention to power scaling are Feng Shen Ji, One Piece, Soul Eater, Berserk, History’s Strongest, UQ Holder and Negima. Those I believe don’t seem to give it much importance are Bleach (the recent defeat of Zaraki) and Fairy Tail.
With regards to power ups, usually they tend to feel very biased in favour of protagonist when not handled properly. An example, in my opinion are the free christmas (or easter) gifts Naruto and Sasuke got from the Sage of the Six Paths, and Orihimes tears bringing a dead Ichigo back to life with a plethora of abilities suited for dealing with Espada number 4.
What do you think? Do you feel power scaling and power ups need to be handled right in shounen manga or do they just not matter? Has a correct or abysmal handling of them ever made a significant difference in your enjoyment of a manga? If so, can you share those experiences?
Note: This blog post was devised and written by Lightsyde. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
Have you ever made the decision to step out of your comfort zone and read a manga that you knew little about? Consider the different factors involved in the decision whether or not to give a manga a try.
First off, what drew you to mangas like One Piece, Naruto, and Bleach in the first place? Was it the strong personalities of the characters? Was it the storyline that had you wrapped up from page one? Or was it just because it is popular and you could discuss it with your friends on a weekly basis?
Many previous posts have attempted to generalize these most popular manga series. This is because the most popular manga (OP, Naruto, Bleach) are like popular music: formulaic and catchy. Researchers have determined that pop music is basically crack for your brain. Naruto was the "gateway" manga that got me hooked on the medium, but it is easily not the most meaningful manga I have read.
Manga, like any other art form, can elicit many different emotions from a reader other than just giddy excitement. So please consider what you want from reading manga. Can you suggest a series that is meaningful to you and believe other people should read? To begin, that series for me is Homunculus (Mature/Seinen Drama).
Note: This blog post was devised and written by Zach. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
For a while, I agreed with the argument that Tite Kubo should have ended the manga series, Bleach, when Aizen died. The following arcs after Aizen seemed like Kubo trying to milk his success on Bleach's popularity, and that if it did end with Aizen's defeat, the series would be a master piece.
The fullbring arc felt like a rushed and disappointing excuse to return Ichigo's power in order to continue the series. Even now, this feeling remains. In my opinion, not only was it terrible, but also boring.
But now with the Quincy's arc, I realised that Kubo's purpose of extending Bleach seems to have more meaning behind it, and that's to answer the mystery between the Shinigami and Quincy, along with the king of Soul Society. This might spoil a little, but Uryuu Ishida's family and past has been very vaguely shown early in the series, showing the struggle of the Quincy's beliefs and the Shinigami's system. There's also the problem with Ichigo's parentage - why is it important for him to belong in both sides of the war? Is Ichigo a "Romeo and Juliet" device, ultimately reuniting the Shinigami and Quincy (possibly through his death) due to his race?
My opinions on whether Bleach should have continued or not changed. I think it's good for Kubo to answer the mysteries he created in the first place, and Bleach is finally getting more and more interesting again. Do you agree? Is there any more mysteries Kubo created previously that hasn't been fully explained? Would you have been satisfied without knowing the past between Quincy and Shinigami?
Note: This blog post was devised and written by Rhastae. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
As I was recapitulizing on FMA and how perfect in tune its ending was with the general concept of the series, I got around to thinking about how I would end a manga, specifically a shounen manga. So I presumed I had a series running in Jump for example (yeah, I've been watching / reading Bakuman lately, I admit it), and my editor and I came to the point where we both agree that it's time to move on and let my story end. Would I let the protagonist (or at least deuteragonist) die? Is that marketable? Would people still like it? Would I like it, after all the hours I probably would have put into creating, developing and drawing this little guy or girl for years of my life? Or should I make it a pretty, wibbly-wobbly, timey-dimey... ah, happy ending? Facing a decision like that must be pretty harsh. So I'm asking this: How would you want your favourite shounen series to end?
Now I myself am not really thinking that much about Bleach and Naruto. Possibilities in these two series are getting more and more limited, and I don't want to skip ahead to it. I'm waiting for Kubo-dono and Kishimoto-dono to show us their idea of a satisfying ending. No, personally, I really focused on the road down the Grand Line, speculating (once again) what finale would fit One Piece's and Oda-dono's style the best. I for myself would love to see Luffy not become the Pirate King. Wait, what did he say? Yeah, I love seeing him in the role of the challenger, you know? It's the same with Ippo. Whenever he's defending I'm not nearly half as thrilled as when he's challenging. And I love that about Luffy. He always goes places he's not supposed to, and he always gets it done in a way you wouldn't expect of an established, worldwide-renowned and feared pirate. He's the guy who gets his excitement out of upsetting the odds, as is typical for shounen, I admit. But he does it in his own airheaded, yet totally passionate and awesome way. And even if those upsets will become more and more of a rare sensation as he closes in on the very strongest, I still don't want him to end up as a ruler or a patron or whatever, effectively becoming the strongest guy around.
But that's only me and my strange ideas. How would you want to see it end? What ending would you see fit, if not for One Piece then for Naruto, Bleach or Fairy Tail? Do you even want One Piece to end? Perhaps I don't...
Note: This blog post was devised and written by Crowy. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
Shonens seem to have some trouble dealing with romantic issues. Yes, obviously there are fantastic mangas about human relationships, but I'm talking about shonen in particular. I've found the way all my favorite shonens handle the relations between the sexes unsatisfactorily to say the least. They tend to skirt around issues of dating and attraction, or simply relegate them to comedic relief moments. I've never quite understood this.
To me, having characters show romantic feelings - and all the joy and heartbreak that goes along with it - is one of the most convincing ways to make characters come alive, to make them endearing and relatable. Characters will ramble on and on about protecting nakama, but what about protecting the woman/man you love? Those feelings should be just as powerful.
It seems the authors are uncomfortable talking about these issues. Is it that they themselves are unsure of how to properly depict their characters in such a way? Do they not know how to write romantic scenes? Or are they afraid they'll bore their younger audiences?
Let me pick on One Piece for a moment, because it's a manga almost all of you have read. What would change if One Piece dealt with mature romantic relationships between the characters? Wouldn't it be entertaining if Nami ever reciprocated Sanji's feelings, if even just a little? Or if Robin and Zoro started showing some feelings for each other? To me these situations would make the Strawhat Crew an even more endearing family. Instead all we get is Sanji's nose bleeding and Brook stealing panties. We all know Oda is a fantastic storyteller, so why has he ignored these potentially captivating story threads?
What do you think? Do you want more romance and relationships in your mainstream shonen, or do you think it's a waste of space? Why do you think this aspect of life has been so overlooked in these works? Are there any shonens you read that get it right?
Note: This blog post was devised and written by Stephen. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
Because of the demographic to which many of our favorite series appeal, implied deaths have become a norm in flagship pieces such as One Piece and Naruto.
In One Piece there are many implied deaths during arcs like Water 7, Impel Down, The Paramount War, etc. I mean how do you feel knowing that Luffy murdered a large number of people while trying to save his brother, i.e. the guards who fell to their deaths in the boiling water/blood, soldiers and pirates during the rescue, etc.?
In Naruto countless Shinobi die without so much as an introduction, whilst a main character like Neji is used as an emotional tool for the readers.
Do you think it’s OK for authors to use secondary characters’ deaths merely as fodder, and use main character deaths as an emotional tool? We aren’t saying that those moments aren’t fun (like when a planet blows up in DBZ) but isn’t it a little bit cavalier in teaching kids in about how little value some lives have, versus the weight that the lives of “important” people have? It would be absolutely impossible to give a voice to every character, and the deaths of the main characters have weight because of our attachment to them. Still, it sometimes bothers me that these fun-loving characters murder all the time. Just a thought.
Do you, our esteemed patrons, ever feel the same?
Note: This blog post was devised and written by James and his crew of two. If you're also interested in submitting your ideas for a blog post, you can find all the instructions on how to become active yourself here: http://mangastream.com/blog/39
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