Literal vs. Liberal
Pt. 1 - Context
DzyDzyDino here again! Back with another little blog entry about translation, localization, and Japanese.
The purpose of these blog entries, apart from sharing with you a little behind-the-scenes glimpse, is to hopefully also show you what goes into localization and a bit of how the Japanese language works.
Because no translation is ever perfect, especially for a language so fundamentally different even in syntax from our own, we're always left choosing between something more direct and literal that reads awkwardly or something that reads and feels smooth and native in English but takes some liberty with the Japanese.
Either way, I think knowing a little about the source material helps to enjoy both methods of translation a bit more, and that's what these blog posts hopefully help to do!
The Literal vs. Liberal translation / localization is one that usually divides fans and translators alike. Sometimes there are more direct cases, like... do you want honorifics like -san, -kun, -chan, -sama, do you want them localized on a one-for-one basis to things like Mr. and Sir, or do you want it omitted based on context as to whether or not it's even important to the story?
I think most of us here at mangastream prefer a context-heavy localization (at least I do!). In other words, one which prioritizes getting the "meaning" and "feel" of what the original Japanese is across into a way that feels and means the same thing in English. Oftentimes choosing a meaningful translation over one that might be "by-the-book" or correct on a "word-for-word" basis with the Japanese.
There's a Japanese saying that gets used in a lot of manga: "百年早い"(hyakunen hayai) which literally translates to "100 years too early." - meaning "you're way too inexperienced/amateur for this, try again in 100 years." But unless there's like some specific plot device circling around 100 years or time-power or something like that... (lol), nothing is meant by the 100 years. It's simply a saying, and one that does not exist in English. So every single time someone says that, regardless of context, should it really be translated as "You're 100 years too early!"?
Many would argue, "Yes!" and when I first started translating 10-ish years ago, I'm sure I felt the same as well. But over time, I began to value really getting into the character and thinking about how that character would talk, what he would say and how it would come across in English.
Idiomatic Expressions (or "sayings") are one thing, and some people can draw a line in the sand with those. But what about everything else?
Here's a good example of over-literal vs. context. A line that happens nearly every week in every series we do, "来るな～！” (kuruna~) If we were to translate this absolutely literally, it'd be "Don't come!". Sometimes I see other groups decide to blur it just a tiny bit and go "Don't come here!" but Japanese is a context-based language.
This line, when it appears, appears by itself in a bubble with nothing else around it - so no pronouns, etc. A literal translation would be "Don't come!" 100% of the time, but that phrase can be interpreted differently based on the setting and whoever's saying it... and it should be! "Stay back!" "Don't come any closer!" "Get away from me!" "Stay where you are!" all the way to "Look out!!" and "Don't touch that!!"
This line could be someone running away from a killer, it could be someone holding off a horde of beasts, telling their comrades to stay away and save themselves, it could be someone warning his friends that a trap is right in front of them, it could be someone that just doesn't want to be followed. With all those possible situations and all the different characters that could be in them, is "Don't come!" really the right translation in each and every case?
Our hero's sister has been kidnapped as bait in a warehouse. The villains have set a trap right next to the door. The sister sees the hero running up to the building and shouts "来るな！" - This is a total classic movie trope, and if you imagine any western movie, the line here would be "It's a traaaaap!!!" and that's precisely what would be meant contextually there.
This is a topic that sparks a really long debate, and to be honest, what I really wanted to talk about this week (profanity in Japanese and translations) I could hardly start without laying some groundwork down first.
In the end, there is no completely right choice, and any choice you make ends up leaving something out. Something invariably becomes "lost in translation." We do our best to mitigate what gets lost and look at every series and every instance on a case-by-case basis and often have team discussions on how to handle certain ones.
The most important thing is to have intent behind what you choose, and at least here at mangastream, we really care about what we're doing, we love these series, and we've put a lot of thought behind all of our decisions in order to try to bring you something we're proud of releasing and that we'd be happy to read.
We can't always please everyone and we're also not perfect either, but we're always open for discussion and always listen to your feedback!
After all that, if you're still dedicated to not missing a single thing out of the original Japanese... well... there's a lot of resources out there nowadays to learn the language on your own!
Anyways, I did want to get into profanity this time, but with how long just talking about the basics of context and liberal/literal got, it looks like it'll have to wait till next time, so until then, thanks for supporting us!
DzyDzyDino here again.
Hope all your holidays were well, whichever ones you happened to celebrate! And Happy New Year to everyone as well! 2016 is upon us!
In the spirit of the Holidays, I thought I'd share this approrpiate little story from a recent Bleach chapter we worked on.
So when we work on chapters, usually we're all on Skype or some kind of chat together with eachother. This way we're all in touch through every step of the process, and the translation goes through a few sets of eyes which are all familiar with the series in the hopes of catching anything that might be off. We can also discuss what might be more appropriate for certain translations and what sounds off for what character and so on. Everyone here also has pretty strong English skills so we usually catch any spelling or grammatical mistakes too (but sometimes they still slip through! You guys are always great at catching them when that happens, and our team fixes it as fast as we can!)
So something else that's neat about us here at mangastream is that we have staff located all over the world from all different walks of life. This is awesome for lots of reasons but one that comes up a lot is cultural and language references. Bleach, for instance, looooves to throw in Spanish and German and whatever else they feel like.
In the past I've talked about "creative furigana" or using readings for implications before. Normally on the side of kanji in shonen manga, they'll have the reading for the kanji to help younger readers learn them, but they also get used for creative purposes or implications. A really simple example would be someone saying "That Jerk" but the reading for it is like "Naruto", so it works as a kind of subtext sometimes.
Furigana gets used in different ways for the ever creative names of attacks too. In this particular issue of Bleach, we had an attack that was written in Japanese as 「毒いりプール」 (A pool with poison in it, or a 'poison pool'). The reading for this however, plain as day, was "Gift Bad."
I did a double take, a triple take, stood up and got a drink, came back and checked again. Yup. Still looking me right in the face "Gift Bad."
What do I do? Do I change it so it makes more sense and make it "Bad Gift"? Maybe a Poison Pool is a bad gift? A guy charging up for a big attack, "rrrrraaaaaaaaaaarghhhhh!! BAD GIFT!!!" It's not inconceivable in the world of manga, right? Doubled by the fact that Xmas at the time was right around the corner, I go and pull up the Bleach wikia to make sure there's no associations with this character and Santa Claus, or he doesn't have some present gimmick.
I imagine a Santa Claus character reaching into a bag, "You've been bad this year! Lump of coal! BAD GIFT!!!!" or "You've behaved this year!! PONY 4 U!! GOOD GIFT!!!"
Still. Something's not right.
I run it by a staffer who happens to speak German and he clarifies. "Gift means Poison. Bad means Bath."
Wow. Many wtfs were had. Since I saw words I recognized in English, I immediately assumed they were English words and probably would have gone done some terribly wrong translation route. But thanks to our awesome team here at mangastream, a disaster was avoided and we got out the right translation.
tl;dr Strange translation. Teamwork wins out. Disaster averted.
Anyways, just thought I'd share this fun little Holiday-themed story with you for today and wish you all a Happy New Year from the staff here at Mangastream.
Hopefully you didn't get any Gift Bads this year. (ノ*゜▽゜*)
It's been a little while, been a bit busy with some new projects and also took over translating on a few more of our series.
As usual, I'll just be picking out and addressing little things that can't quite get conveyed properly in the translations of our chapters, or things I find neat and I hope you might find neat as well. Onwards!
Most recently, Akame Ga Kill had a kind of epic moment for me... like one of those moments where someone in the movie says the title of the movie. Like at the end of Chinatown, "Forget it, Jake... it's Chinatown." Or "Sincerely yours, the Breakfast Club". "7.62mm Full Metal Jacket" etc. etc. Sometimes it's gimmicky, other times it sheds new light on the title and is really cool.
Akame Ga Kill (アカメが斬る) had that moment for me, and the translation of the title had a lot to do with it and why it doesn't quite come across. First of all, there's the "Kill" part of the title, which is written as 斬る(KIRU) for to cut/slice or kill by slicing/slashing. This is played on further because of Akame's Teigu, Murasame, which kills anyone it cuts or slashes, means cutting and killing are one and the same. And since they are pronounced the same, they decided to stylize the actual spelling of the title, calling it Akame Ga Kill instead of Akame Ga Kiru. This may be common knowledge already, I'm not sure.
The title usually gets translated to something like "Akame Kills" or something like that, but this is where the vagueness of Japanese also steps in a bit. The title is open to so much interpretation, and you're left wondering a bit of Akame Kills What? Without anything else attached, there's also some other further out interpretations and connotations attached, but I'm starting to get off topic here.
Japanese is often very context-specific, with sentences leaving out many important parts and having you interpret it via context instead. So this title is vague and we just go along assuming it to mean Kill Akame. But then in the most recent chapter, Akame tells Tatsumi that if she should become possessed by Murasame, that she wants Tatsumi to kill her. Tatsumi then responds by saying, "Fine, but then if Incursio takes me over and I go out of control, I want you, Akame, to be the one to kill me."
This whole "Akame, you will be the one to kill (me)" is conveyed with the line "Akame Ga Kill" and suddenly brings a whole bunch of different connotations to the title. Instead of seeing the title as "Akame Kills", I started to see it as "Akame Is/Will Be the One Who Kills" and if this current arc is the climax, then maybe the title is coming from a wish by her sister for Akame to be the one to kill her? Starting to read into it now, but that's the cool part and totally what the whole point is. By leaving things vague like that, any time any new bits of context come in, suddenly new possible interpretations spring up.
This is probably one of the hardest and also most fun parts of translating. Often the author will write some super vague line of dialog on one page. You read it, you don't really fully understand what it means or what it pertains to, but as you read on and context fills in, it clicks in and makes sense.
It's kind of like watching a movie where you see a clip of the conclusion first. You've seen events. You don't know their context, why people are doing what they're doing, but you have some vague ideas that are floating in your head. As you watch the movie, the blanks fill in and then it all makes sense.
Wow. I kind of went on for a while there. I had a bunch more examples and things I wanted to bring up, but I'll save them for next time! I guess that means you'll be hearing a bit more from me over the next few weeks!
Until then, thanks as always for following us and reading our scanlations! Till next time, byebye!!
So the current Naruto Gaiden series is about to come to an end. Whether in the next chapter or within the next 11 or so, it definitely has an expiration date on it, which was really already announced before it even began, so it's not much of a surprise.
Rumor has it that Kishimoto's going to start working on a new series in August, or early fall. The big question is - what's he gonna work on? Many speculate it's gonna be something related to his one-shot Mario, but honestly, I don't think so. That short was a really old idea of his that he decided to polish and publish, and that was that.
Personally, I really hope he doesn't steer in the direction of any kind of realism. His work, whether Mario or that Baseball one-shot he did, didn't impress me, and I will always connect his style with fantasy, with feudal Japan and with some kind of adventure plot - so I really hope he goes for something like that in his next series as well. Be it about Samurai, some adventure/discoverer theme (without them being pirates, or else xD) or something else I didn't think of.
The other option is, and I think it's not that unlikely at all, is that he's using this Gaiden interlude as a sort of introduction to Naruto Part III. Honestly, I struggled quite a bit to see how he'd do it, and I still do. I mean with existing power levels being a big hindrance since it feels like those were already maxed out with Kaguya/Madara/Sasuke/Naruto.
I would love to see him doing something like a 10 year time skip though, and only few of the kids still around, with Sarada and Boruto as the protagonists in a crazy, post-apocalyptic world where all the adults were slayed by some uber-powerful enemy - think of Future Trunks' in DBZ, that sorta thing. But really, I don't think Kishimoto would ever go there... unfortunately.
Anyway, you all have any ideas on how he could spin Naruto further? Do you even want him to? And if your answer's a stern 'no', then what kinda series would you like him to create next? Describe it in detail, I love reading everyone ideas.
Hello people! GTY_Ponzorz here. This is the final part of the blog post series about Honne/Tatemae. Thank you for sticking with me all the way and reading up to the 5th blog post. This post is just me prattling on about why it might be important to understand the whole honne/tatemae thing and to know a bit about social issues in Japan. Here we go.
Last few words from me
I apologise if this entire thing has been incredibly long and boring. If you read up to here anyway, you have my deepest gratitude, and I really hope you at least learnt something or had a laugh. :9
To reiterate though, I cannot stress how prevalent, important, and serious the whole concept of Honne/Tatemae is in Japan. It’s as important as Ichigo getting his next power up and a new costume to go with it, and almost as important as having nice pristine weekly manga scans. :9
As a second point though, again, it is not to say that such a concept of preserving honor and what not exists solely in Japanese society. We are largely all the same human beings on this planet (some differences aside :9 ), and value a lot of the same things - love, loyalty, bravery, courage, friendship - and are faced with the similar conflicts and issues in our respective societies. I am discussing honne/tatemae with you though, because it really is a big deal in Japan. Everything I have written is definitely not the only way to go about understanding this topic, and it definitely may not even be the most correct in the eyes of many - it is perfectly fine and normal if you have differing views, or feel that I have over-analysed some parts.
It might sound strange, and even asinine - to explicitly discuss and read about this aspect of Japanese society, but it’s something you’re better off being aware of if you have an interest in Japanese culture because it really is a thing that legitimately exists.
There are many other social issues / deep cultural traditions and concepts that exist in Japan - and for those who are interested, it is highly enlightening to read more in to it and gain a better understanding about the nation that so many of you respect and appreciate for their manga/anime.
Funnily enough, Japan is not actually a perfect utopia full of sexy ninja, swashbuckling (stretchy) pirates and full-time shinigami (I don’t think most people can have such a vocation there) who run off to summer festivals every two episodes, watch some fireworks and then assemble the seven dragon balls to summon Shenron to grant them their heart’s deepest desires.
While the biggest problem some of us may have in regards to Japan may be “OMG why is it Golden Week, where is the next issue of WSJ??” The people living there actually have plenty of unique social issues quite irrelevant to a late manga chapter - just to list a few for starters:
They have an aging society, their birth rate is lower than Yasutora Chad when he’s lying on the ground, and they have heaps of problems with how underpaid and how bad the welfare is for their temporary workers, some sexism, the marginalisation and lack of government support for the Japanenese diaspora that return to Japan from South America (Bolivia and such), a bit of racism in the monocultural society, their nuclear problem, Abenomics... complications of honne/tatemae … oh have I said Abenomics yet? The list can go on for a little bit longer I daresay.
: ) Of course, every country has their own set of issues, right? But knowing about these issues might help you understand and appreciate the aspects of Japanese culture we all enjoy - Sakura flowers, gari gari ice-cream, weekly WSJ - that little bit more.
Thanks again for reading, hope it was still somewhat more interesting than your homework. ; )
Sources: Btw. don't reference/quote what I wrote up there in an academic essay pls. I wrote it for fun , it's not really a stellar example of writing and to use it academically in any sense is about as advisable as slapping Kenpachi in the face with a floppy gigai.
Sup guys, GTY_Ponzorz here. This is part four of the blog post series discussing Honne/Tatemae in Japan. This post is rather long, so apologies in advance.
How does all this help me understand Anime / Manga better?
This is a difficult question to answer, but I’ll have a go at it anyway. : )
This is my personal opinion, and I am sure many of you may have even more insightful, profound opinions - which would be awesome if you could share it, I am interested in everyone’s views! I don’t think there is a right or wrong answer to this, it’s a subjective thing in the first place - just connect with the stories you read/watch in the way that is most meaningful to you personally, and take what you learn from it and strive to become a better person, to better guide those around you. : )
To set the scene, which may be a very obvious one (forgive me), the origins of Manga and Anime as we define it today is, well, Japan. This means that the writers who no doubt put their lifeblood and soul, and all their experiences of their life, in to writing a given story, will have been influenced by the culture and societal standards of the society from which they were born/grew up/live in, in one way or another. (Let’s keep the flaming of any particular series that is not advancing to your taste, and editors (who are not soul-less either btw), and “they’re milking it for money” and blah blah out of this and assume for now my comment about the mangaka is a general truth ;9.) This means that the stories they write, and the characters they bring to life for us, will reflect those nuances too. Some particular nuances may not be very familiar or recognisable to an audience who has never experienced watching anime or reading manga before - but the more you watch it, the more cultural aspects you learn, right? (Or at least, I think you’re supposed to.)
The most obvious examples everyone picks up on would be the typical traditional stuff like how there are summer festivals in Japan, people wear Yukata, watch fireworks together, go to the shrine together on New years eve (insert falling snow scene), smash watermelons at the beach, obligatory school festival episode in anime etcetcetc - that sort of thing.
However, there are many deeper nuances that can be picked up on. Of course, everyone - even people who grew up native to Japanese culture - will perceive certain events or themes differently.
When one character shows their fragile weaker side to another character they have developed a trust bond with, that is not the tatemae. It’s a bigger, more significant ordeal than you think it is, when you reflect on the whole tatemae culture - even if the event in question is something very trivial, or very stupid.
“Hey, Soma-kun, I really don’t want to go to the study group today. I’m kind of uncomfortable around that group of people.”
That simple statement can be a biiiig deal. :x People usually don’t say that sort of thing to just anyone.
“I really dislike the beach, so I’m gonna pass this time round.”
“Okay, I get it.”
This sounds kind of … really super duper lame right? But even small things like this - if someone says this kind of thing to you, you ought to treasure their confidence in you. : )
In terms of Bleach, and where the values honne and tatemae (and giri) come in, I can think of a few examples. Of course, you can disagree - and tell me I’m thinking too much into it. But this is all in good fun, and looking at a story from this kind of a perspective can be interesting!
Shunsui and Aizen
Honne and Tatemae doesn’t have to just be for politeness, or to maintain an image. It really takes a lot of searching and perception to be able to understand what the other party is getting at.
Their banter these recent few chapters are a good example of general vagueness, sarcasm, and underlying implications that exist for the reader to interpret. I think Urahara, Shunsui and Aizen are pretty pro at this whole Tatemae thing.
A friend pointed out his point of view on a specific scene in Bleach to me:
When Shunsui spoke to Stark about how Hitsugaya is apparently going to be stronger than he is 100 years later, he feels that Stark was really saying:
"Mmm yea he is strong, but I am stronger."
That’s the sort of subtle thing you’ll begin to pick up on for yourself the more you understand certain aspects of a country’s culture.
Da Central 46
What the actual flaming fudge are these guys even doing?
Has the C46 legit done anything useful in the history of Bleach?
They only tried to
- Kill Rukia - death by giant flaming bird / allegedly most dangerous weapon in SS -_-
- Banish Urahara
- Kill Shinji
- Kill every other vizard
- Obstruct CC Shunsui
- Condemn Aizen to Muken, and oh my, look at where he is now and what he is doing. (¬_¬)
One could say that their job is primarily to preserve the peace and good of Soul Society. Yet, they are often manipulated, and will make a ruling that may be unjust, but it is the direct way to preserve the peace (rather than investigate the truth.)
C46 is the tatemae of peace and harmony in a society that is supposed to have no conflict, and now who’s the shogun that puppets his shadow government? Aizen Sousuke.
The C46 makes the judiciary system look like absolute trash - in fact, a lot of stories do. But I suppose it exists for many purposes, one of them may be a sort of commentary on how power is manipulated, how a government can be run (puppeted), how fearsome a facade can really be - and perhaps show that the people who follow their instincts and their hearts, perhaps, are doing things in a better way.
There is not a lot to say on this except for the fact that most protagonists in Shonen manga are very straight forward, demonstrate qualities of courage and strength, and always do what their heart tells them is the right thing to do. It’s almost like it’s for the purpose of challenging the main tatemae culture of Japan.
Many shonen protagonists are brash, say what’s on their mind, total KYs .. and so forth. It’s quite a contrast to real life, and they challenge the way people are normally expected to behave. Perhaps that’s why shonen manga is so popular - it is really fresh, exhilarating - and the story will take you into a boundless world where speaking your mind and following your personal beliefs is the right way to go.
When a protagonist is at a low, afraid to reveal their true feelings for fear of bringing inconvenience and harm to those around him - he’s usually taught that he shouldn’t be afraid to take the risk to pursue his dreams and goals, that he should just get stronger, and that people accept him that way and they are there for him.
The Gotei 13 , and the quincy crew, and the espada
The Gotei 13 and the Sternritters are a collective group with a clearly defined leader (In the case of the Gotei, I will talk about Yamamoto Soutaichou as I feel Shunsui is a different kind of leader to Yama-jii)
Japan is a very hierarchical society - this is also a facet of their culture that is entrenched in deep cultural and historical roots. This is where “giri” (Obligations) arise from.
All members of the Gotei are bound by the decisions of the C46, and the individual squads have a captain, who in turn defers to the captain-commander.
It’s that self-sacrificing sense of duty to your leader, and your people.
In Bleach, there are times where obedience is paramount, and you put your life on the line to protect Soul Society. (Think TBTP, think quincy invasion). But there are also other cases from the very beginning (SS arc), where you can see characters challenge the thoughts and values of their superiors, and make a stand. Early on, there is Ukitake and Shunsui vs Yamajii. Even now, the quincies are staging an uprising against Yhwach. This portrays the conflict between what is a rigid duty/obligation (to your lord/people) and what is the “right thing” to do (for yourself and the people/values you care about) - and it directly challenges the norm of the existence of a “paramount” duty (giri) that is socially unacceptable to turn your back on in a collectivist society.
There can be a lot of symbolism to do with the double code of honne/tatemae, the mask, the truth, the lies.
Not just in Bleach - but if you think in terms of Bleach - you can find symbolism in Aizen’s Kyouka Suigetsu, the masks of the Vizards, the internal battle with the inner hollow (Specifically in terms of the hollowfication process, the more agitated you get - instead of trying to stay calm - the faster the hollowfication happens. Your true feelings are super bad for you D: ) and even within the characters themselves. Ishida pretty much never says what he thinks, but his friends get it and just let it go. So what is he doing by Yhwach’s side right now? Biggest facade ever, if I can hazard a guess.
A lot of this honne/tatemae stuff is related to why the term tsundere is even a thing. :x
Tousaka Rin!!!!! (Fate Unlimited Budget Works)
Who in Bleach are the manipulative shrewd ones, whom you really have to read between the lines to get at the heart of what they’re saying, and who are the ones who always speak their mind? Which characters have a relationship of trust in each other? Which characters put up a wall and speak in riddles? This kind of stuff can all be related back to Honne/tatemae, if you think about it. Might give you a new perspective on things. : )
That’s it for part four – thanks for reading, and part 5 will just be a final wrap-up/summary post. Hope you enjoyed reading.
Hi guys, GTY_Ponzorz here. This is part 3 of the series of blog posts talking about Honne/Tatemae in Japanese society. Since the concept is pretty confusing, I thought it’d give some real life examples so people can have a better idea.
Applications in real life of Honne and Tatemae
(Some silly examples)
Example 1: Urahara-san says to Isshin-san and Ryuuken-san very neutrally/casually, “Are you staying for dinner?”.
People fluent in Tatemae-speak (not an official word, I coined it just now please don’t quote it in official cases :9 ) will take this to mean that “You’ve been here long enough, we’re done for now, I have other business to attend to, pls leave.”
The proper response to this (understanding the hidden implication) would be to say “Oh you’re right, it is getting late! I shall trouble you no further and be on my merry way. Thank you very much for all your hard work today. Otsukare-sama deshita. *leaves*
People who don’t get it, will be like “Oh yar sure, I’ll stay for dinner. I have nothing to eat in my fridge at home anyway. Thanks man.”
( ;9 Which guy d’you think said what? )
Jokes aside though, in an actual situation if you don’t get the response right then that is your instant recipe to a very awkward situation right there. This is what we call “Kuuki yomenai” (lit. can’t read the air/atmosphere). I’ll talk about this later.
Example 2: As small kids, Sasuke would always be at Naruto’s house. When Sasuke’s mum comes to pick him up, she will say “Please, come to our house next time.” However, every time it is arranged for Naruto to go to Sasuke’s house, some inconvenience would always come up at the Uchiha residence and Sasuke winds up at Naruto’s house every damn time, all the time. In terms of Tatemae, this would mean that the mother doesn’t really mean to have the other kid over at their place. She is just saying “please. come over next time” to save face, to sound polite.
I will reiterate the above kind of examples are totally normal in Japanese society, and people who are used to this type of tatemae culture will just take it all in stride A-OK.
Example 3: This is not a direct example, but it’s something I’ve personally screwed up on in my noob days.
When someone asks you to do something/go somewhere, and your answer is going to be in the negative, don’t say it straight! You have to be vague. No joke. It’s considered very rude to give a flat out no.
Example: (Please keep in mind that GTY_Ponzorz doesn’t want to go to see Avengers in this HYPOTHETICAL scenario)
Voxanimus: Hey Ponzorz, are you going to watch Avengers with everyone this Friday?
Patapon: Nah, I’m not going. (iya, ikanai yo.)
^This does not fly. The asker will be pretty shocked you gave such an outright “no”. They might take it to mean that you have something against going, you are being condescending, you don’t like them, etc. Wrong impression.
Let’s try again.
Voxanimus: Hey Ponzorz, are you going to to watch Avengers with everyone this Friday?
Patapon: Ah… I want to go but… Friday is a bit… (Literally in Japanese, you will say, “kyou wa chotto”. Which translates literally to “today is a bit…”)
You want to go but Friday is a bit… what? Well, most people who get the implication will take it to mean, today is a bit NOPE NOPE NOOOPE / I don’t want to go / I’m not free, got my hands tied.
It basically means an instant “no, probably/definitely not going” without directly saying “i’m not going (ikanai yo)”. Even so, it’s a lot more acceptable, polite, and respectful.
Note that you said you wanted to go - most people who get this tatemae thing will just take that as fluff, the prelude. :9 But even so, most people say it.
Example four: This is another instance of an indirect vague-response to when someone asks you for a favour you don’t want to do.
DzyDzyDino: Hey can you please do this for me.
Ponzorz: No, I can’t do it / No, I don’t want to.
^ Yep you guessed it, wrong response. Rewind time.
DzyDzyDino: Hey can you please do this for me.
Ponzorz: It’s a little difficult… (chotto muzukashii ne…)
Muzukashii = Difficult , which is the key word.
Chotto = a little, which is a buffer in a bazillion cases. It’s so useful. -_-
What it DOES NOT mean: Yeah it’s difficult, but I’ll have a hack at it.
What it DOES mean: I don’t want to do it , I’m not inclined to perform this favour for you.
How do you reply to a “muzukashii ne…” ?
You would therefore have to follow on with a “Oh I see, don’t worry about it then” and drop it, or, find another way to persuade the person now that you understand they actually don’t want to perform your request. Don’t say “how is it hard? It should be easy for someone like you!”. They don’t want to do it. Either change tactic, or drop it altogether.
(Sorry Dino and Vox for randomly shoving your names in to the examples, yurushite kure ;-; I’m bad at making up names.)
As mentioned before, Kuuki Yomenai literally translates to “Can’t read the air/atmosphere”.
It’s for those people who are often saying / doing the wrong things, at the wrong time, and making a situation very awkward.
In colloquial japanese, this is abbreviated to the acronym “K.Y” which just stands for, Kuuki Yomenai.
You can upgrade this to SKY, which is “Super Kuuki Yomenai” .
It is generally not advisable to aspire to be a super KY, or an Ultra KY, or a super-ultra-mega KY. It’s perceived as a negative trait most people in Japanese society strive to avoid being labelled as.
To quote the Tofugu website,
"Basically, KY is used to describe people who have trouble getting a read on situations, or have trouble feeling the atmosphere of a situation. This is viewed as a bad thing, and most Japanese do what they can to avoid being labeled as KY.
In many ways, KY can be representative of Japanese culture in general. Japan is a group-oriented society that values harmony, rainbows, and cute animals. As such, Japanese people are well known for being indirect, ambiguous, and avoiding conflict.”
That said though, those KY people are often an archetypical character in many anime/drama/manga storylines. Those kind hearted, or maybe loud mouthed, silly, silly, people. How many can you think of?
Okay to be straightforward with you all I’m done with part three. Don’t be a KY and have a good week. :D Part four will be about how all of this can be related back to the Manga and Anime y’all so avidly follow. Sort of.
Thanks for reading! : )
What’s up guys, GTY_Ponzorz here. As promised, here is part two of the blog post series about the mysterious Japanese concept of Honne and Tatemae. This post is an overview of why such a thing even exists, and how it’s applied in Japanese society in the grand scheme of things. Might be a bit dry… but there is still part 3, 4, and 5, woo... *-_-*
History/Cultural Background as to why such an explicitly stated thing even exists and is so deeply entrenched in Japanese culture:
The Honne and Tatemae is often known as the double code of Japanese society. It basically originated from the Heian Period of Japan (794-1185) where this Minamoto dude became the first epic Shogun of Japan and established the Shogunate (bakufu). In this period, the shoguns were the de facto rulers of the country, though officially they were appointed by the emperor. Minamoto Shogun-san gave heaps of power to his shogunate in Kamakura, while the emperor and the imperial court situated back in Kyoto was still intact but held pretty much… zero power. ZERO ;9. This is the origin of the shadow government, where the government that was the Tatemae, and the Shogunate was thus the Honne, the true source of power.
Most of the cultural roots for Honne/Tatemae comes from the idea of collectivism, that Japan is a society built upon social harmony and peace. Tatemae is used to avoid conflict, lest you inflict your non-homogeneity (that is not a word imsosorry) and selfish desires on the rest of your people and shame yourself/bring inconvenience to people around you. D: (sarcasm)
Applications in Japanese society
Lowdown is politicians speak in fluent Tatemae and it is safe to say that is the only language they now converse in.
They often have broad statements of philosophies that can be interpreted in many ways, avoid use of vocabularies that implies judgement on any given topic, and they have a lot of token words that they just pull out of their .. basket of token words, and everything they say amounts to a load of nothing. An Asahi Editorial that came out in 1994 commented that “a prime minister’s speech must be a vague speech that ‘touches everything covers nothing’. Which further shows that Japanese are already fully aware that these speeches are only for show and do not in actuality address issues.
Examples of politician tatemae speak:
They say “jubun ni” which means adequately. This is a delaying tactic, and no one knows how “adequate” the word “adequately” means to be.
If colleague Gin-san does something wrong/scandalous (for example), colleague Aizen-san will say “I feel sorry” (Ikan ni omou) . This expresses neither accusation nor personal apology, but indicates that the speaker understands that he/she is supposed to “feel sorry” about a certain incident involving his colleague.
Tatemae is used for politicians to avoid a ‘loss of face’/public embarrassment. Tatemae is the safest way to be ambiguous about opinions, commitment, emotions, and thus the safest route to retain political hold.
As a result, the Japanese public does not trust the Japanese government. Tokyo Times (2011) reported that 8 out of ten Japanese felt that the leaders were not telling the truth, especially in the wake of the Great Tohoku Earthquake. D:
Note: Will provide a source for all of this at the bottom of the page + extra reading for those interested
Automatically assuming that the incumbent government have a strong influence over what is published in the mainstream newspapers, (as many other countries in the world also do) coupled with the fact that all the Japanese politicians speak in their facade-y vague Tatemae speech anyway, readers can just assume that most of the content in the Asahi, or Yomiuri newspapers (main national-level newspapers in Japan), is the prim-and-proper, pre-determined Tatemae side of a story. It’s like a kyouka suigetsu... of a kyouka suigetsu. (Yo dawg, I heard you like kyouka suigetsus… )
In contrast, the magazines, which have the image of being very trashy and gossipy, are surprisingly, said to show more of the true story behind the curtains, the honne.
Based on facts and figures, Japan provides a looooot of foreign aid. Japan is one of the biggest donors of Official Development Assistance (ODA) alongside France, Germany, UK and US. The MOFA (Ministry of Foreign Affairs) states that the Japanese ODA is extended to developing countries where people are facing various concrete problems. However, some scholars argue that even in Japan’s allocation of ODA, Honne and Tatemae is being practiced.
The real intention behind such foreign aid is to foster Japan’s own commercial interest. Put bluntly, altruism is the Tatemae that hides the real intention, and the honne, is their own agenda. While Japan truly did allocate more funds to poorer countries, trade partners of Japan in ASEAN countries received higher development funds from Japan. (ie. In the name of ODA , Japan has been giving funds to ODA eligible countries who are also big trade partners with Japan.)
Japanese workers are given annual leave, but that is a tatemae and it’s socially expected that you don’t use the annual leave you’re given . :x
The infamous drinking culture of Japan exists to bridge the gaping hole between honne and tatemae, so people can loosen up and say what they want. It’s also culture that what you say on a drinking session stays within the drinking session, it is forgive and forget the next day.
Okay, that’s all I have to say on the above four big aspects. Sorry that must have been quite dry, but I thought maybe a few of you might want to read it. Though… yeah it might have been really boring.
Extra on the side: Honne and Giri
There are a lot of other concepts that tie in with Honne/Tatemae. Giri is “duty” or “obligations” - in the sense of discharging your duty (or never discharging your duty) till the day you die - it’s a self-sacrificing sense of devotion to your superiors, your country, your people.
(If you ever watch Valentines episode anime, there is always “giri choco” - chocolate a girl gives you, not because she is romantically interested, but because you are her friend and she will give “giri choco” to everyone that is her friend. It sounds bad when you translate it and call it “giri choco” because I’m sure she’s giving her friends chocolate because she wants to and I would be happy to receive giri choco (Unless I was interested in her lol then woe me) but in the workplace, and perhaps other situations, you give dat giri choco to everyone - even people you don’t like - because it’s obligatory and it helps networking, maintaining interpersonal relations, etc) but I digress!)
There is a conflict between honne and giri - which is often examined in Japanese literature and drama, every time, all the time. A good example is for the protagonist to choose between carrying out obligations to his family/state/government/lord, or pursuing an epic (read; secret, clandestine) love affair. I am a real sucker for this kind of basic setting in a story but it usually ends in tragedy. *cry*
(On a side note, the recent generations of people in Japan pursue a more free and individualistic path which has clearly deviated from the path of their forefathers - but I suppose change comes slow, and the notion of giri is still very deeply entrenched in Japanese culture.)
Oke doke, this is the end of part 2 – part three will be some IRL applications of this concept. When does yes mean no, and when is it that someone is subtly trying to kick you out of their house? (x_x)
In the meantime, it would be interesting to hear from readers in this post and the next, what kind of norms are in your own cultures? (My German friend tells me it’s sometimes considered rude to be wishy-washy and indirect in the german mentality (More of which I will cover next week), my French friend tells me French politicians have a “langue de bois” (tongue of wood) for the tatemae speak of the politicians and my Serbian friend tells me that in some situations, a second cup of coffee served is a subtle queue to leave? In Chinese, there is an expression of having a “thick face” to express that someone is shameless, and so on… :9)
That’s it for now, sorry for the long post and thanks for reading.
I did some extra reading up to write this post – which is basically a summary of this link. If you want extra detailed reading, this is the source.
Thanks again for reading!
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