--- Maison Ikkoku Guidebook: Appendices and Glossary Copyright 1996 by the Misery Loves Company (see the full copyright notice in part 1 of this guidebook) ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ ======================== @general_comments == == == Commentary == == == ======================== .5.> Here's a section for general comments that wouldn't really fit anywhere else in this Guidebook. Maybe you'll find out more about the authors of this document by reading our personal comments here. <.5. .6.> You are very welcome to send me your own commentary to add to this section. For instance, you could tell me what Maison Ikkoku means to you, or how you came to like it, or maybe even write an essay about anything to do with Maison Ikkoku. <.6. Notes From A Synopsis Writer: ============================= by Glenn Tarigan What Will Be In the Synopses?: ----------------------------- In my synopses, you will find that I reveal all (if I'm in a mood to write plenty), with no regard to keeping the suspense; that you will encounter spoilers all over this document is a foregone conclusion. Even if it's obvious onscreen, I'll note it down in my synopses. That's because I intend to make my synopses useful as a record of all the events; it should tell me what happened so that I can avoid having to search out the video source to see what really happened. Sometimes I wonder if my synopses are really synopses; the large ones which I've written straddle the dividing line between synopsis and script. What Synopses Will Be In Here?: ------------------------------ I started doing the English synopses from the 15th episode (as opposed to starting from the 3rd episode, for example) because of a request from Michael Studte, whose anime club in Perth, Australia (incidentally, I was born in that city), needed synopses from #15 onwards. Whether they used my synopses or not, I used that suggestion as a starting point on the off chance that my episode guide would be immediately useful to someone, other than myself. With episode 15 as the first synopsis I will continue to do them in sequence from there. If someone makes a request for me to do an episode which is not soon going to be done next in sequence, then I may consent to make a detour. Along the way, I'll skip episodes for which English synopses greater than 100 lines in size already exist on an FTP site. At this time, that means that I will skip the following episodes: 1-2, 53, 91-95. Of course, if contributors to this guidebook do some episodes, I'll skip those too. Barring unforeseen detours, I'll continue on through to episode #90, jump to #96, then wraparound to episode #3, and eventually reach episode #14. At this point, there will be a synopsis available on FTP for every single episode of MI. If I haven't burned myself out on Maison Ikkoku by then, I will go back to write synopses for those episodes-to-be-skipped. How Big Will the Synopses Be?: ----------------------------- I've decided to take an all-or-nothing approach to each of my synopses in this document. That means that when I start a synopsis, I won't start on another one until that first one is finished. So there will, at most, be only one partially complete synopsis in this document at any one time. All the rest are either sufficiently complete or totally empty (footnotes don't count). As for the synopses themselves, my preference is to write 200+ lines for each episode which, in my format of indentation, results in an 1800+ word synopsis. It's possible to write twice as much, but I'm not interested in making them that long. Once a synopsis has reached the 200+ line length, the only important thing to me will be to add footnotes, comments, and other details which can help one to better appreciate the story. Ideally, in my opinion, an episode should have 200+ lines of synopsis and 200+ lines of a variety of liner-notes or stuff like that, including commentary. I make my synopses so big and detailed because I want to make them stand out from the rest. There are already synopses for most of the episodes, but I'm pretty sure that they are not as detailed as the big ones that appear in this guidebook. I also place an emphasis on the extra notes and comments because those are the sort of things that a mere subtitle is unlikely to give you. I consider those footnotes as a valuable item, akin to the liner notes that companies such as Animeigo give with their anime productions. How Will I Write the Synopses?: ------------------------------ As you by now know, I originally wrote these synopses in Esperanto. After trying to write my first 40 or so synopses from memory (and sometimes several months after last seeing those episodes), I decided to do it the easier way and make notes while I watch an episode. From those notes I usually wrote approximately 100 lines of synopsis for each episode. Then going to English, I start with the Esperanto version. Most of them are a bit short, so I start out by expanding (which often-times means more than doubling) the size to make it reach the 200-line mark. If it wasn't too short to begin with, I'll use it as is; sometimes even 100 lines is enough. Now I translate it to English. This is really easy because I don't try to do a faithful translation and I write it the way I feel like it, plus I know the original intent of the Esperanto author. I can do the translation at about 900 words (of English) an hour for the initial draft. I've talked to the Esperanto writer, and he doesn't mind at all. :) If you're curious, Esperanto and English take up almost the same amount of space/words to say the same thing. They're much closer in that respect than comparing English and French, for example. I'll have to do a bit more research to see which language on average takes up more space, and by how much. So, when I've translated it to English, I work on it some more, adding some details, guaranteeing that the 200 line mark is reached, and making further corrections usually to do with making it accurate with respect to the actual story. I'll probably add a few more footnotes to boot. And to complete the cycle, I translate back into Esperanto those parts which I've added for the English version. Indented comment: Comparing the Strategies Used for Eo and English ---------------- Since I'm a beginner in Esperanto, I focused on quantity rather than quality in my Eo MI Episode Guide, because I'm not good enough to do good quality, heh heh. But for the English version, I can do (semi-)quality, and I decided to do less quantity just for the sake of a trade-off. What this means is that in Eo I have 85+ synopses which are in various stages of completion and range from pretty good to pathetic. In English, I have written five complete synopses which, I hope, are well done. What Did I Use to Write the Synopses?: ------------------------------------- I'm somewhat old-fashioned. Just take a look at the specifications for the computer that I started with and continue to use to write my Guidebooks (both English and Esperanto): - PC/XT computer running at 4.7 megahertz - MS-DOS 3.30 - 640 KB of memory - 20 meg hard drive - 11" amber monochrome monitor - one 5 1/4" floppy disk drive Actually, it's less to do with my being old-fashioned, than with my being too stingy to get a better computer. Adjacent to my computer, on the left, is a 15" TV set, equipped with a VHS VCR (quite handy for taking notes on an anime). For almost everything I write, I use a text editor named "QEdit". I highly recommend this program. Real wordprocessors have their advantages, but I like the simplicity and speed of this text editor. QEdit is less than 55 kilobytes (a small size like this is a requirement when you work on a pathetic computer), and is very fast. I can load and edit as many files as can fit in memory. One of my favorite features is that almost every single command key can be reconfigured; so instead of using the default key layouts, I moved some commands (which I use more frequently) to easier to reach (or remember) keys. Another big advantage is that the files that I create on a text editor can be used right away on the Internet. I can also use QEdit to read any ASCII text files that I download. Contrast this with a wordprocessor: the ones that I've used usually have problems loading ASCII files (the formatting goes all to heck) plus it's too hard to edit ASCII character graphics. Notes on Dialogue: ----------------- Whenever I include translated dialogue in my synopses, I'm careful to use the original names that were used as well as the honorifics. I'm not sure about when some of the characters start using different names, but I think I'll encounter the change-point as I progress further along in the synopsization. Somewhere in the early half of the series Mitaka stops calling Kyoko `Kyoko-san' and always says `Otonashi-san'; and Godai more and more calls her `Kyoko-san' instead of `kanrinin-san' as the series progresses. A short term name usage is when Kyoko used to call Godai only by the name `ronin-san' in the first two or three episodes. In Godai's case, it's just a matter of his relationship progressing nicely with Kyoko. Calling her "kanrinin-san" calls to mind their tenant-manager relation, in which she is the superior. But when he calls her Kyoko-san, that means they're on a more equal level. And Godai probably hopes that means they're at a bit more of an intimate level than merely tenant-manager. In the best case (when they get married), they'd be calling each other by their first names without the use of any honorifics: Kyoko would call him "Yuhsaku", and Godai would simply call her "Kyoko". Now what do you suppose is the significance in Godai's calling Kozue "Kozue-chan" rather than "Kozue-san"? Using the diminutive "chan", would seem to imply even more intimacy than "san"--however, "san" expresses more respect to the callee than "chan". At any rate, this inequality in the name usage (Kozue calls Godai "Godai-san") should remind us that their relationship is slightly asymmetrical. Guess who's more interested in the other? If you want to go to an extreme, you can think of Kunou Kodachi (from Ranma 1/2) with her usage of the super-honorific "Ranma-sama". It's not usual to address someone of the same age (and Ranma even has a lower social standing) by anything higher than "san". ------------------------------------------------------------------------------ @anachronisms A) Anachronisms: .5.> ~~~~~~~~~~~~~~~ This section will be for anachronisms like the tofu-seller. But maybe anachronism is too strong a word for it. Is there a better name for this? I wonder what are the other anachronisms in MI? Firstly, there's the "omiai". Can that be as common as MI would make it seem? Carragher: It might be out-of-fashion if the omiai is arranged by parents. Omiai via friends (aka "blind-dates") seem to be fairly common though (from my limited experience, both good and bad B-). Heck, Ikkoku-kan itself is almost an anachronism. They did have one episode in which the place was going to be torn down. What about yatai (portable food-stalls)? These are the oden stalls and soba sellers. We see them several times throughout the series. And unlike the tofu-seller, the characters in MI actually make use of their services. Are these things disappearing too? Carragher: I don't think so. I noticed several opening up back in '92 and few closing down, so I'd say they're still pretty common. Shambaugh-san: Little specialty food shops are STILL are over the place in Japan. Best place to get a quick cheap meal (& authentic, too). Remember, there are virtually NO ZONING LAWS in Japan. People can set up wherever to sell food as a consequence (not like here, which requires permits, etc.) Can you think of any other examples? Carragher: How about a woman virtuous to a dead husband? B-) It wouldn't surprise me to find out that many other authors put in little things for the sake of nostalgia. Carragher: Maison Ikkoku itself, as you yourself mention, is a good example, as is the clock in the house. (Does it *ever* work besides that one night? Every time they show it, there seems to be a new time, though usually within an hour of 10:30.) <.5. ------------------------------------------------------------------------------ @ghost B) The Yotsuya Ghost Story: ~~~~~~~~~~~~~~~~~~~~~~~~~~ Tsuruya Nanboku IV in 1825 created the story "Tokaido Yotsuya Kaidan" (the original full name; now it's shortened to `Yotsuya Kaidan'). It is said that O-iwa (it can be translated as "Stone"), the protagonist of this story, is the most tragic figure in all of Kabuki theatre. At Sugamo station, along the Yamanote railway in Tokyo, is Myoko-ji Temple which has several famous graves. One of them is Oiwa's. Her story is recorded in the Kabuki play, `Yotsuya Kaidan'. The grave is real, but the story is fiction. It is a popular story for NATSU-SHIBAI (summer season), when it is popular to tell ghost stories. In the Yotsuya Ghost Story, Oiwa was terrifyingly disfigured by a poison administered by her husband at the behest of his mistress. Oiwa committed suicide, but returned as a ghost to haunt her husband to the end. The main story is augmented by several scenes of other murders and hauntings. Today, in Yotsuya-ku (the district which Oiwa haunted) there is a shrine commemorating her memory. The real Oiwa was a kind woman with a faithful husband. Playwright Tsuruya Nanboku used her name in the play and destroyed her reputation. Maybe because of that she searches for vengeance: every theatre built in Yotsuya District soon burned down. Some say that it is because of the angry ghost of Oiwa. More likely it's because she didn't like the story. Today, Yotsuya is a lively, safe district in Tokyo. Synopsis: -------- Iyemon, oil-paper umbrella maker, one-time samurai, and consequently a ronin fallen upon bad times, had a beautiful young wife, O-iwa, who had recently given birth. His indifference to Oiwa was remarkable. The daughter of a well-to-do neighbor loved Iyemon, and her family schemed to get rid of the wife by administering a medicine that was really a strong venom that would misform the face. The unfortunate woman, weak and sick, not suspecting the scheme, thankfully accepted the fatal cup. [ to be continued in a future Release ] ------------------------------------------------------------------------------ @tanuki C) Tanuki: ~~~~~~~~~ Here's one of the more interesting folk tales involving a tanuki: Note: in many folk tales some intelligent animals have supernatural powers. In one tale a fox or tanuki, depending on the source, disguises himself into a kettle, then a prostitute, and finally a horse. KACHI-KACHI YAMA (1): There once lived an old man and his wife. One day the old man went to hoe his field on the mountain. An evil tanuki came out and sat on the old man's resting stone. He called out insultingly, Old man, you're hoeing crooked on the right, Old man, you're hoeing crooked on the left. `You worthless tanuki, all you do is bother people!' cried the old man and ran after the tanuki with his hoe. `Look out, old man, you'll fall over backward on your rump,' jeered the tanuki and ran off into the mountains, all the while slapping his buttocks to show contempt for the old man. The tanuki continued to come back and hurl insults for a few days. So the old man made a thick paste like mochi from buckwheat and then brought it to the field. He thoroughly smeared the resting rock with it. That day the tanuki came again. Unaware that anything was there, he sat down on the resting stone, and continued to insult the old man. The old man grabbed up a handful of wisteria vines and ran after the tanuki. The tanuki was stuck fast in the paste. The tanuki's rump has put out roots; When evening comes, We shall feast on tanuki soup, cried the old man as he bound the wisteria vines around and around the tanuki and carried him home. Hanging the tanuki by the door post, he asked his wife to cook some tanuki soup. The old woman was out in the yard making flour, and the tanuki called out from the doorway, and offered to help. She worried that the old man would get mad, but the tanuki said, `Why should he be angry? After we're finished with the flour, you can hang me up again,' and the tanuki continued to bother her until the goodhearted lady agreed to untie him. `Now, grandmother, I'll grind the flour and you can help me,' said the tanuki. Pretending to pound the mortar, he hit the old woman on the head as hard as he could, with such a blow that she died. He skinned her and covered himself with her skin, assuming her appearances. Then he made soup out of her carcass and waited for the old man to return home. When evening came the old man returned home from the mountains and called, `Old lady, old lady, do you have the tanuki broth done yet?' `Ah, here you are old man. You're late aren't you? The tanuki soup is done; please have some.' And the tanuki, disguised as the old lady, offered the old man some of the soup. `Ah, this should be delicious,' cried the old man, but when he tried a mouthful, it had an unfamiliar taste. `This is surely strange-tasting tanuki soup,' said the old man, cocking his head to one side. `When I was boiling the tanuki, he broke wind, and the soup tastes of that,' explained the tanuki. `Well, even at that, it is delicious, delicious,' said the old man, and he ate three bowls of it. After the old man had finished, the tanuki cried, Here I've pulled the horse's rear teeth! Isn't it strange to eat your wife in soup? Pulling off the skin of the old lady, he ran humpity-hump off into the mountains. `Oh, how pitiful! Ah, ah, I was made to eat my wife. Oh, oh,' the old man wept bitterly. Just then a rabbit came softly up to the old man. `What are you crying about, grandfather?' he asked. Hearing about the tanuki's fearsome deed, the rabbit decided to get revenge for the old man. The rabbit met with the tanuki and they decided to go gather firewood. When they got to the mountains they busily began chopping down trees. Then they loaded up on their backs what they had cut. Even with his small load the rabbit stayed behind and cried, `Oh, it's too heavy, it's too heavy,' and he refused to go forward a single step. At first the tanuki was persuaded to take half the rabbit's load. Then the rabbit, feigning more fatigue, got the tanuki to carry all the wood, and finally carry the rabbit himself. And so the tanuki walked along, carrying the rabbit on his back. The rabbit, up on the tanuki's back, took out his fire-starting stone and kachiri kachiri, began to strike fire. `Rabbit-dono, rabbit-dono (2), what is that sound I hear up there on my back?' asked the tanuki. `Oh that is the sound of the kachi bird on Kachiri Mountain,' answered the rabbit, as if it were nothing unusual. Next the rabbit began to blow on the fire, bo-o bo-o. `Rabbit-dono, rabbit-dono, what is that sound, bo-o bo-o?' asked the tanuki. `Oh that is the bo-o bo-o bird on Bo-o Bo-o Mountain,' replied the rabbit. Then he jumped off the tanuki's back and ran away. The fire on the tanuki's back began to get hot, and it was only then that he realized that he had been fooled by the rabbit. The tanuki, his back covered with great burns, went groaning along until he had crossed the mountain and there was the rabbit making miso. The tanuki angrily asked the rabbit why he played that trick on him. The rabbit looked at him innocently and said that he was the rabbit of Miso Mountain and not the same rabbit. The tanuki believed what he was told, thinking that the rabbit was surely right. When he asked the rabbit what he was making, the rabbit said, `Oh, this is what I call miso. It is a special medicine for burns, bruises, or scratches. If you smear some on your wounds, they will heal immediately. I was making this to take to the village to sell.' The tanuki wanted to have some so badly that he could hardly stand it. The rabbit offered to give him some and going around to the tanuki's back, he smeared miso into the open wounds. Gradually the saltiness of the miso penetrated the wounds, and they began to sting so that it was unbearable; but the rabbit had already run away and disappeared. The tanuki, crying with agony, went down to the river's edge to wash off the miso. He finally got it all off, and groaning with pain, he crossed over the mountain. There he found the rabbit again; he was busily cutting down trees and sawing them into boards. The tanuki struggled up to where the rabbit was. `Rabbit-dono, rabbit-dono, you have really treated me cruelly. Because of you my body is swollen like this. Why did you do it to me?' he asked rebukingly. This time the rabbit claimed to be the rabbit from Cedar Mountain and pretended innocence. The tanuki thought that what the rabbit said was reasonable enough. `By the way,' he asked, `what are you planning to do with the cedar boards you are sawing?' The rabbit said that he was going to go fishing. The tanuki wanted to go along, but the rabbit told him to make his own boat out of clay. And so they later set off into the water in their own boats. As the tanuki's boat started to disintegrate in the water, he tried to escape. `Rabbit-dono, rabbit-dono, help me, please!' `All right, I'm coming', said the rabbit and held out his oar. `Now, tanuki-dono, grab this and I'll pull you to safety.' Pretending to help, he hit the tanuki on the head as hard as he could, with such a blow that he died. And the boat sank out of sight along with the tanuki. adapted and partially synopsized from [FOLK63]; secondary sources: [YANA86] [MYTH75] (1) [ Kachi kachi is onomatopoeia for the scratch, scratch sound of iron on flint in making fire and also from the crackle of a burning fire. [FOLK63] Yama = mountain ] (2) [ -don, -dono = A suffix of familiarity used by men among close acquaintances or to inferiors, never to superiors. The term was formerly one of respect; it degenerated to one of familiarity and is now seldom used. [FOLK63] ] ------------------------------------------------------------------------------ @exchange E) Exchange Rates: ~~~~~~~~~~~~~~~~~ .6.> In relation to the US dollar: ----------------------------- Average Yearly Exchange Rates: $1 US = xxx.xx YEN 1970 360.00 1980 226.74 1990 144.79 1971 349.33 1981 220.54 1991 134.71 1972 303.17 1982 249.08 1992 126.65 1973 271.70 1983 237.51 1993 111.20 1974 292.08 1984 237.52 1994 107.62 (for 1st quarter) 1975 296.79 1985 238.54 : 1976 296.55 1986 168.52 2000 40.00 ^_^ 1977 268.51 1987 144.64 1978 210.44 1988 128.15 1979 219.14 1989 137.96 <.6. In relation to the Canadian dollar: ----------------------------------- Ex. In 1979, 1 yen = $0.00537 Canadian $1 U.S. = $1.1715 Canadian Yearly Averages of Noon Spot Rates: (Canadian dollars per foreign unit) Japanese U.S. German British French Swiss yen dollar mark pound franc franc 1979 0.00537 1.1715 0.6394 2.4855 0.2754 0.7046 1980 0.00518 1.1690 0.6444 2.7196 0.2771 0.6986 1981 0.00545 1.1990 0.5321 2.4287 0.2218 0.6122 1982 0.00497 1.1241 0.5086 2.1579 0.1885 0.6091 1983 0.00519 1.2324 0.4834 1.8683 0.1624 0.5873 1984 0.00546 1.2948 0.4564 1.7300 0.1487 0.5527 1985 0.00577 1.3652 0.4677 1.7701 0.1533 0.5615 1986 0.00830 1.3894 0.6425 2.0388 0.2010 0.7769 1987 0.00919 1.3260 0.7384 2.1725 0.2208 0.8905 1988 0.00961 1.2309 0.7028 2.1929 0.2072 0.8443 1989 0.00861 1.1842 0.6304 1.9415 0.1858 0.7246 1990 0.00809 1.1668 0.7234 2.0808 0.2147 0.8430 1991 0.00852 1.1458 0.6934 2.0275 0.2039 0.8027 1992 0.00955 1.2083 0.7757 2.1302 0.2288 0.8627 Source: "Bank of Canada Review", Autumn 1993 ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ .8.> K) MI - KOR Parallels --------------------- Wes Shull on Mon, 27 Feb 1995 : It just occured to me that are a number of parallels between KOR and MI. This is not surprising in that they are both romantic comedies; but considering the great number of specific plot differences (age, relationships, setting, personal traits (ESP?!)), it is somewhat remarkable. Here are the parallels I can come up with off of the top of my head: Godai/Kyousuke - protagonist, male, hopeless (G is just a loser, K has no backbone) Kyouko/Madoka - protagonist, female, have been separated from family (Madoka's are in US, Kyouko's husband died), are so obvious to everyone else that they're "open windows" (joke! ^_^) Kentaro/Kazuya - younger (than G/K), male, can get close to K/M like G/K wishes he could Souichiro-san/Jingoro - Both are at times close to K/M like G/K wish (for Jingoro, think of the "I was a cat, I was a fish" OVA) Loon Squad/Hatta&Komatsu - "friends" of G/K, constantly hindering attempts to get close to K/M Kozue&Yagami/Hikaru - fems who like G/K So how do guys interpret this all? Have I just rediscovered the traditional elements of romantic comedy, or can we make like English majors and pull out some meaning here that might not really be there? ^_^ (No offense, English majors, but don't try to deny it...) ----- Christopher J. Noe on Mon, 27 Feb 1995: My first take on this is that you have rediscovered some of the essential elements of romantic comedy. See, for example, any of Shakespeare's romantic comedies. Both of these anime shows are series, which requires at least one of the main characters to be balanced between two (or more) choices for an extended period of time, in order to maintain viewer interest. See, for example, almost any U.S. or Japanese live action soap opera. I think there may some themes at work here that are more Japanese in origen, as well. I think Japanese viewers/readers are more used to ambiguity, and do not necessarily expect the kind of 'neat 'n tidy' endings that U.S. audiences are used to. Also, the Japanese generally tend to avoid directly confronting each other with disagreements and bad news. This would make it culturally more natural for our male protagonists to have trouble overtly making up their minds. I think the possibilities for amusing (to the audience) misunderstandings are also multiplied by these traits. Finally, as in any situation where love and/or lust is/are involved, one would naturally expect lots of silly, irrational behavior on the parts of all of the characters. Some of this behavior is pretty predictable, once you've been through it or witnessed it a few times. From: redwolf@raz.csc.ncsu.edu (Doug Eckhart) Subject: Re: resemblance of MI characters to KOR chars Date: Sat, 22 Apr 1995 01:36:25 -0400 (EDT) Perhaps they slightly resemble each other, especially in personality, but there are a lot of differences between Kyoko and Madoka, and Hikaru and Kozue, IMHO. :-) Kozue is nowhere near as shrill as Hikaru. :-) And I've never seen Kyoko throw a guitar pick. :-) ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ @mailing_list L) Maison Ikkoku Mailing List Charter: =================================== Revision 11 : 95.04.11 Saluton! On Monday, February 21st, 1994, at 1800 hours, the MI ML (Maison Ikkoku Mailing List) was activated. If you want to subscribe or UNSUBSCRIBE, you should send your e-mail address and full name to Glenn Tarigan . On September 16th, 1994, the MI TRANSLATION ML was activated. The operator of the MITML is Gary J Kacmarcik. To subscribe, send mail to . To post a message, send mail to . The MI Trans. ML is to be used for: - translations of the manga, anime or songs - and any discussion about the Japanese language The regular MI ML is to be used for: - synopses - discussion about the story - comments about related merchandise - and anything else that isn't about translation ---------------------------------------------------------------------- Table of Contents: ----------------- Section 1: Opening Text -- Capsule Description of the Maison Ikkoku Mailing List. -- Administrivia : Important info that you should know. -- Subscriber Information : If you want a subscriber list, just ask Glenn. -- Statistics : The number of messages posted per week, and other info. -- ML Pointers : If you like MI, you might also like these ML's. Section 2: More Info About the MI ML -- Basic Info about the MI ML. -- Maison Ikkoku FTP sites -- Important-Files Pointer: Files created by the Misery Loves Company -- Archive Pointer : Every message from this ML is on FTP too. -- A Reminder About Mailing List Etiquette. -- A Reiteration of the Mailing List's Main Purpose. -- The Other Main Purpose of This Mailing List. -- Closing Message. ---------------------------------------------------------------------- Capsule Description of the Maison Ikkoku Mailing List: ====================================================== The Maison Ikkoku Mailing List (MI ML) is a forum for the discussion of subjects related to the manga (Japanese comics) & anime (Japanese animation) of Maison Ikkoku. As such, it is a rather narrowly focused mailing list. Tangents are quite welcome, though, as long as they have at least a tenuous link to Maison Ikkoku. Maison Ikkoku is the creation of Rumiko TAKAHASHI, who is one of the most popular manga artists in Japan, with ardent admirers in many other countries. MI was serialized in Big Comic Spirits (a weekly manga magazine) from November 1980 until April 1987. The anime version was broadcast by Fuji Television from 1986 to 1988. In addition, there have been two movies, other video productions and music albums. Several translations of MI have been produced around the world and, in 1993, Viz Comics finally started translating the manga into English. That describes the path of the official releases. As with any other anime and manga, many copies of dubious legality have also been circulating throughout the past years... ---------------------------------------------------------------------- Administrivia: ============== 0) The list maintainer (Glenn Tarigan) has these basic duties: (i) Add new people to the subscriber list and e-mail each new subscriber a copy of the MI ML Charter. (ii) Unsubscribe people. (iii) Change a subscriber's e-mail address when requested. (iiii) Collect all the messages and upload them to FTP. All you have to do is ask me at . 1) Posting limits: (i) Do not post any message that is longer than 2000 lines, or bigger than 50 kilobytes. If you must post such a large amount all at once, then please SPLIT UP the whole into separate messages, each one no larger than 50 kilobytes. (In fact, I recommend a message size of only 30 K or less.) (ii) Please be considerate of the other subscribers: Do not post huge amounts of text day after day after day. I.e., Think twice^2^2 before posting 222 K (or more) of text all within the same day, even if you did split it up into bite-sized postings. (iii) Only post straight ASCII text; it should be readable as is. Do NOT post uuencoded files, encrypted text or anything that requires any sort of decoding before it can be read. Binaries, such as sound or picture files, should be handled outside of the mailing list (e.g., by means of an FTP site). Note: Rule (iii) is negotiable. If you really want to post something that isn't straight ASCII, please ask the mailing list maintainer beforehand. 2) To post a message in this mailing list, send it to this address: . In every message you post, I recommend that you put [MI] or =MI= at the beginning of your subject header. For people who receive hundreds of e-mails a day, such an identifier makes it easier to recognize which messages are from this mailing list and are therefore worth reading (or incinerating). 3) Whenever someone posts a message in this mailing list, the server mails a copy of the message to every subscriber, including the person who posted the message. I don't know of any way to stop the mailing list from echoing back your messages. Also note that it may take more than 30 minutes for the server to process your mail and send it out. 4) This mailing list does not set the Reply-To field to itself. If you don't change the address to then the only the person who'll receive your message is the sender of the original post. Here are some ways to send your replies to the mailing list: i) Read the message, and then send your reply as a NEW message to the mailing list. That probably means you will have to manually re-type the subject header and the mailing list address. ii) Use the "Reply" function AND send a cc (carbon copy) to the mailing list. I assume most e-mail programs have a "carbon copy" feature that can send a duplicate of your message to a secondary address. Subscriber Information: ======================= For this mailing list I maintain two subscriber lists: 1) A list that merely shows the name and e-mail address of every subscriber. All the subscribers are included in this list. 2) A slightly more detailed list that gives some personal information about each subscriber. Being included in this list is optional. Both lists are available to any subscriber who asks me for a copy. So if you want to know who else is on this mailing list... If you want to be included in the slightly detailed list, then send me the following information: Your_Name - What city and country you live in. - What Maison Ikkoku products you own. (And maybe a list of other Takahashi stuff you own.) If you want your entry to include more (or even less) info, feel free to tell me so I can make changes to the list. Due to spacing considerations, I'm sorry to say that I cannot accept multi-page autobiographies. ^_^; Here's an example of one entry in the list: -------start of entry------- Glenn TARIGAN - In Coquitlam, British Columbia (Canada) = 49.2'N 122.5'W - Manga: I own a full set of the 15 MI normal width volumes. Also have volumes #1-10, 12-15, & 18 of Ranma, plus #1-8 of Viz's Lum translation, and the Animerica issues with translations for Supergal and two chapters of Mermaid's Forest. - Computers: I use an 80386 computer with plain DOS 5.0. - Languages: I can speak English fairly well, and I know a bit of Esperanto. My goal is to learn Japanese sometime soon, as well as a bit of French. - Functions: Project Coordinator of the Maison Ikkoku Guidebook. Coordinator and Archiver of the MI Mailing List. Anime and Manga Fan. -------end of entry------- My entry happens to be one of the medium sized ones so far. Let's say that the maximum size I will allow is 50 lines of text. Some ideas for other information you might want to include: - How/why you got interested in Maison Ikkoku or in anime in general. - What anime/manga projects you're involved with. Whether you draw your own manga, translate, write fiction, or contribute articles for a newsletter (or for posting on FTP sites, etc.). - And whatever else you think would be interesting for other people to know about you. Statistics: =========== Number of Messages Per Week: (From Mondays to Sundays) 1995: Apr 3>Apr 9 = 13 Mar 27>Apr 2 = 22 Mar 20>Mar 26 = 14 Mar 13>Mar 19 = 12 Mar 6>Mar 12 = 17 Feb 27>Mar 5 = 38 Feb 20>Feb 26 = 27 Feb 13>Feb 19 = 13 Feb 6>Feb 12 = 19 Jan 30>Feb 5 = 22 Jan 23>Jan 29 = 23 Jan 16>Jan 22 = 10 Jan 9>Jan 15 = 20 Jan 2>Jan 8 = 40 --- 290 1994: Dec 26>Jan 1 = 4 Sep 12>Sep 18 = 47 May 30>Jun 5 = 48 Dec 19>Dec 25 = 5 Sep 5>Sep 11 = 33 May 23>May 29 = 27 Dec 12>Dec 18 = 23 Aug 29>Sep 4 = 14 May 16>May 22 = 58 Dec 5>Dec 11 = 17 Aug 22>Aug 28 = 23 May 9>May 15 = 59 Nov 28>Dec 4 = 23 Aug 15>Aug 21 = 20 May 2>May 8 = 73 Nov 21>Nov 27 = 12 Aug 8>Aug 14 = 53 Apr 25>May 1 = 76 Nov 14>Nov 20 = 25 Aug 1>Aug 7 = 44 Apr 18>Apr 24 = 127 Nov 7>Nov 13 = 4 Jul 25>Jul 31 = 58 Apr 11>Apr 17 = 47 Oct 31>Nov 6 = 3 Jul 18>Jul 24 = 27 Apr 4>Apr 10 = 47 Oct 24>Oct 30 = 18 Jul 11>Jul 17 = 24 Mar 28>Apr 3 = 66 Oct 17>Oct 23 = 14 Jul 4>Jul 10 = 12 Mar 21>Mar 27 = 64 Oct 10>Oct 16 = 9 Jun 27>Jul 3 = 18 Mar 14>Mar 20 = 67 Oct 3>Oct 9 = 25 Jun 20>Jun 26 = 48 Mar 7>Mar 13 = 71 Sep 26>Oct 2 = 11 Jun 13>Jun 19 = 79 Feb 28>Mar 6 = 124 Sep 19>Sep 25 = 4 Jun 6>Jun 12 = 30 Feb 21>Feb 27 = 49 ---- ---- ---- 197 530 1003 For the past 4 weeks there has been an average of 2.2 messages per day. A total of 2020 messages have been posted in 59 weeks (between 94.02.21 and 95.04.09), which makes for an average of 4.89 messages per day. On 95.04.11 there were 184 subscribers in the MI ML. ---------------------------------------------------------------------- ML Pointers: ============ If you like Maison Ikkoku, or anime in general, you may find these other Mailing Lists worth checking out: (I'm only listing a sample of the best mailing lists) Kimagure Orange Road Mailing List: ---------------------------------- Jay Harvey, the KOR ML Maintainer, says: To subscribe, unsubscribe, report problems, or just chat with da man (^_^) email: . Maison Ikkoku Mailing List: --------------------------- To subscribe, unsubscribe, change addresses, etc, send e-mail to Glenn Tarigan . Read the MI ML Charter for more information. Miyazaki Mailing List: ---------------------- In operation since April 1991. Focused on the works of Hayao Miyazaki and Isao Takahata. Discussion of alternative/progressive manga and anime is also welcome. This mailing list has captured my heart by archiving most of its messages (and very good quality ones at that) on an FTP-able site. It seems that the Maison Ikkoku ML is the only other anime-related mailing list to archive its messages on anonymous FTP. Hey, every good mailing list should have easy-to-access archives. To subscribe, send a message to . The mail should have the following text in the first line: subscribe nausicaa yourlogin@youraddress Firstname Lastname Ranma 1/2 Mailing List: ----------------------- A mailing list for and about the Ranma 1/2 TV series and manga. To subscribe, send email to . Urusei Yatsura Mailing List: ---------------------------- A mailing list for fans of Urusei Yatsura and Maison Ikkoku and of the works of Rumiko Takahashi in general. To subscribe, send e-mail to . The mail should have the following text in the first line: subscribe urusei-yatsura yourlogin@youraddress Firstname Lastname ---------------------------------------------------------------------- Basic Info about the MI ML: =========================== I created the Maison Ikkoku Mailing List partly because I wanted an easy way of having group discussion between the collaborators of the MI Guidebook, the MI Deluxe Manga Translations, and any other MI related projects. I also wanted to see any discussion at all about Maison Ikkoku. Idle chatter is fine as long as the messages are related to Maison Ikkoku. The project work will probably remain a major part of the list's content, but other messages are encouraged. The goal of the MI Guidebook is to synopsize and annotate the entire anime and manga series of Maison Ikkoku. The goal of the MI Deluxe Manga Translations is to translate each chapter of the manga in great detail. There is at least one group out there whose project goal is to subtitle the entire Maison Ikkoku series, and do it right. ^_^; All three of the above projects are huge huge huge. Let's just say that when we're done, there will be several =megabytes= worth of Maison Ikkoku text available for downloading: scripts, synopses and other writings. Note: Where applicable, much of the discussion that goes on in this mailing list is going to end up as part of the MI Guidebook or in one of the Deluxe Translations. If you don't want me to use your comments and discussion, then don't post them to the mailing list. As a matter of fact, the MI Guidebook serves as a sort of digest of the mailing list. This will make it easier to look up old discussion topics because many of the high-signal threads will be organized within the Guidebook. Suitable types of messages for posting in the MI Mailing List: - Synopses and summaries. - Annotations and footnotes. - Reviews, comments and analyses. - Explanations of background details. - Observations and discussion about anything to do with Maison Ikkoku. (I guess that sums it up pretty well :) Maison Ikkoku FTP sites: ======================== WWW page: http://server.berkeley.edu/Anime/MI FTP site: ftp://server.berkeley.edu/pub/anime/MaisonIkkoku Server.berkeley.edu FTP site: (used to be Ftp.math.ufl.edu) The unofficial Maison Ikkoku FTP site. You'll find more Maison Ikkoku text files here than anywhere else-- even Venice.tcp.com doesn't have as much. Search the directory /pub/anime/MaisonIkkoku/. Nimbus.som.cwru.edu FTP site: Storage site for the MI Translation List. You can find some manga translations here. Search the directory /pub/larvae/MI/. Ftp.stack.urc.tue.nl FTP site: The official Esperanto FTP site. You can find the Esperanto MI Guidebook here. Look in the directory /pub2/esperanto/esperanto-texts.dir/. Venice.tcp.com FTP site: Big, but not necessarily complete. I personally avoid this site, preferring to upload my Maison Ikkoku files to the smaller FTP sites (see above). Important-Files Pointer: Files created by the Misery Loves Company ======================== Name: Size: Description: -------------------------------------------------------------- mi-guide-r7* 1726 K Release 7 of The English MI Guidebook. v3c1 151 K Volume 3, Part 1 - Deluxe Translation. v7c4 151 K Volume 7, Part 4 - Deluxe Translation. v7c5 114 K Volume 7, Part 5 - Deluxe Translation. v7c7 107 K Volume 7, Part 7 - Deluxe Translation. v7c8 86 K Volume 7, Part 8 - Deluxe Translation. v7c9 113 K Volume 7, Part 9 - Deluxe Translation. v8c1 217 K Volume 8, Part 1 - Deluxe Translation. v15c4 57 K Volume 15, Part 4 - Deluxe Translation. mi-gvido-e3* 1103 K The Esperanto MI Guidebook, Release 3. ------ Total: 3825 K Note: The filenames shown here aren't exactly as you'll find them. In particular, some of the Deluxe Translations are composed of a group of files-- so the file size shown here is a sum. Archive Pointer: ================ If you want to read previous messages that have been posted to the mailing list, you can download the following files: : : : Number of Filename : Size : Date of messages : days covered -------------------+---------+---------------------+------------- "miml-archive1" : 400 K : 94.02.21 - 94.03.02 : 10 "miml-archive2" : 368 K : 94.03.03 - 94.03.14 : 12 "miml-archive3" : 361 K : 94.03.15 - 94.03.24 : 10 "miml-archive4" : 391 K : 94.03.25 - 94.04.07 : 14 "miml-archive5" : 392 K : 94.04.08 - 94.04.19 : 12 : : : "miml-archive6" : 360 K : 94.04.20 - 94.04.27 : 8 "miml-archive7" : 381 K : 94.04.28 - 94.05.09 : 12 "miml-archive8" : 395 K : 94.05.10 - 94.05.22 : 13 "miml-archive9" : 402 K : 94.05.23 - 94.06.15 : 24 "miml-archive10" : 320 K : 94.06.16 - 94.06.29 : 14 : : : "miml-archive11" : 239 K : 94.06.30 - 94.07.26 : 27 "miml-archive12" : 315 K : 94.07.27 - 94.08.15 : 20 "miml-archive13" : 306 K : 94.08.16 - 94.09.11 : 27 "miml-archive14" : 244 K : 94.09.12 - 94.10.23 : 42 "miml-archive15" : 259 K : 94.10.25 - 94.12.22 : 59 "miml-archive16" : 320 K : 94.12.28 - 95.02.19 : 54 "miml-archive17" : 250 K : 95.02.21 - 95.04.10 : 49 A Reminder About Mailing List Etiquette: ======================================== Only post messages that are related to Maison Ikkoku. Posting a message that is off-topic is a heinous crime. Messages related to the administration and maintenance of the mailing list are okay, though. Make sure that requests to subscribe or unsubscribe are kept out of the mailing list. (They're annoying.) If your reply to a posting isn't of interest to the rest of the group, use private e-mail to the sender only. Phrased differently: Send a message to the mailing list if you want everybody else to be able to make replies. This is an example of a very relevant posting: A 207 line synopsis of episode 69. This is also good: Discussing something that appeared in the manga. Even this is perfectly fine: "In episode 7, Ikuko made a direct reference to the Shichi-go-san Ceremony, so here's a detailed explanation about this cultural event..." By the way, the compiler of the MI Guidebook loves including trivia. The example below is quite acceptable for this mailing list: "Episode 49 sees the appearance of a mysterious man named MITSUKOSHI Zenzaburo. His family name happens to be the same as that of one of the largest department stores in Japan. One of its branch stores can be found in Nihonbashi, Tokyo, and..." Now, here's an example of something that IS NOT relevant to this mailing list: "Hey guys, want to talk about Urusei Yatsura?" On the other hand, I won't electrocute you if you do something like this: "I present for your reading pleasure a comparison and contrast between Maison Ikkoku and Legend of the Galactic Heroes..." You get the point. (I hope) In Closing: =========== Now that this mailing list is around, it should be easier for more people to get involved with the MI Guidebook Project (and any other projects related to Maison Ikkoku). Let other MI fans know about this mailing list and ask them if they want to subscribe. Yours mizere, Revision 11 : 95.04.11 Glenn Tarigan Revision 10 : 95.01.12 Revision 9 : 94.09.28 Revision 8 : 94.08.24 Revision 7 : 94.06.29 Revision 6 : 94.04.22 Revision 5 : 94.03.20 Revision 4 : 94.02.25 Revision 3 : 94.02.21 Revision 2 : 94.02.20 Revision 1 : 94.02.17 End of Charter. <.8. ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ @bibliography Bibliography: ~~~~~~~~~~~~ Computer files: -------------- [Kan] = "Maison Ikkoku: Kanketsuhen" translated by Daisuke Suzuki [PORO93] = "SCRIPT: OMOHIDE POROPORO (ONLY YESTERDAY)" (computer text) translated by Hana Kawashima, Brad Lucido, Yohei Honda and Bryan Wilkinson. Books in paper form: ------------------- Note: *** - Indicates a book which I found to be very useful for my footnotes. ! - Indicates a book which I recommend for a good read; most of the others were pretty boring. [BAED83] = `Baedeker's Japan' by Dr.Walter Giesen, Prof. Dr.Wolfgang Hassenpflug, Karin Khan. English text: Alec Court. Copyright 1983. Prentice-Hall Inc., New Jersey. 360p [BEYO92] = From Akihiko Yonekawa, "Beyond Polite Japanese: A Dictionary of Japanese Slang and Colloquialisms," Tokyo/New York: Kodansha International, 1992. [CELE90] = `Celebrate Japan' by Roxsane Tiernan. Pictures by Kuniko Iyama Copyright 1990. Published by Maple Leaf Publishing, Vancouver 60p [COMP93] = `The Complete Japanese Expression Guide' by Mizue Sasaki Copyright 1993 by Charles E. Tuttle Publishing Co., Inc. First edition. Printed in Japan. 334p [CUIS87] = `Japanese Detail Cuisine' by Sadao Hibi Copyright 1987. First published in Japan by Graphic-sha Publishing Co., Ltd. 140p [ENCH83] = `Enchantment of the World: Japan' by Carol Greene Copyright 1983 by Regensteiner Publishing Enterprises, Inc. 127p [ENJA64] = `Enciklopedieto Japana' by T. Nakamura *** First edition, 1964. 217 pages Printed by KOSMO, 1 Imai-cho, Kita-ku, Osaka, Japan [EVJA89] = `Everything Japanese: The Complete A to Z of Life in Japan - *** its Business, Politics, Culture and Customs' ! written by Boye De Mente. Copyright 1989. Harrap Books Ltd. London. 319 pages [FOLK63] = `Folktales of Japan' translated by Robert J. Adams *** Copyright 1963 by The University of Chicago. Printed in USA. ! 221p [HAND83] = `Japan Handbook' by J.D. Bisignani *** Copyright 1983. Published by Moon Publications, California. 505p [ILLU93] = "Japan: An Illustrated Encyclopedia" c1993 Kodansha Ltd. 1st Ed. [JALA88] = `Japan: Land of Many Faces' by Alan Booth Copyright 1988. Published by Passport Books. 256 pages [JANE87] = `Japan Nearby' by Marguerite Wells, Paul Fennel, David Francis, Margaret Sakon, Sharon Tanabe Copyright 1987 Pacific Education Press, The University of British Columbia. 2nd Edition. 128 pages [JASU73] = `(A Sunset Travel Book) Japan' by Frances Coleberd 2nd Edition. Copyright 1973 by Lane Magazine & Book Company, Menlo Park, California. 160p [KOJI69] = `Kojiki' translated by Donald L. Philippi. Kojiki = It is a collection of Japanese legends. Completed in AD 712. Copyright 1968 by University of Tokyo Press. Printed in Japan. 656p [LOOK89] = `A Look Into Japan: Volume 1' by the Japan Travel Bureau, Inc. *** Copyright 1989. 15th Edition. 192 pages [MYTH75] = `Japanese Mythology' by Juliet Piggott Copyright 1969, The Hamlyn Publishing Group Limited 3rd pressing 1975. Printed in USA [PLAC88] = `Places and Peoples of the World: Japan' by Rebecca Stefoff Copyright 1988 by Chelsea House Publishers. Printed in USA. 112p [YANA86] = `The Yanagita Kunio Guide to the Japanese Folk Tale' by Yanagita Kunio. Translated by Fanny Hagin Mayer. Copyright 1986. Printed in USA. 365p ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ @secondaries Bibliography of Secondary Sources: ================================= .5.> by Joseph Grau Here is a bibliography of secondary sources: commentary, criticism, reviews, plot summaries, interviews, announcements, etc. that have appeared in print. So I thought I'd take on the task of providing one. This is the bibliography as it stands now. Not much there, folks. I really would like your help with this. I'm looking for citations to all kinds of items. Anything about MI is fair game, as long as it's appeared in print. PLEASE dig up what you can and get the necessary information to me. All contributions will be acknowledged, of course. I'd prefer that you passed the information to me via private e-mail rather than through the MI Mailing List. I'll post updates to the list as things progress. If you don't feel comfortable about doing bibliographic citations, no sweat. Just e-mail me, and we'll work it out together. Thanks for "listening." Hope to hear from a lot of you. <.5. [ Note from Glenn Tarigan: I have added some more entries. ] .8.> Bibliography of Secondary Sources 001.940517 Alegado, Eric. "It Isn't Urusei Yatsura." Animenominous, Vol. 1, No. 3 (Winter 1991), 26-30. Discussion of the MI TV series, with brief descriptions of most of the characters. "Because Home Is Where the Heart Is: Maison Ikkoku by Rumiko Takahashi." Animerica, Vol. 1, No. 3 (Mar 1993), 35. Announcement in the "Manga Close-Up" section of the Viz edition. Includes comments by the managing editor of Viz. Groensteen, Thierry. "Rumiko Takahashi" in L'Univers des manga, p121 Horibuchii, Seiji. "The Manga Wunderkind." Animerica, Vol. 1, No. 2 (Apr 1993), 5-10. An interview with Rumiko Takahashi which includes comments on MI. Keller, Chris and Robert Gutierrez. "Maison Ikkoku." In The Anime Reference Guide: The Official Japanese Animation Reference Guide for AnimeCon '91. Berkeley: Cal-Animage, 1991, pp. 45-47. Synopsis of MI TV episode 96. Lhoste, Philippe. "Maison Ikkoku" in Mangazone 3, pp. 13-16 McCarthy, Helen. Anime: A Beginner's Guide to Japanese Animation. London: Titan Books, 1993. Brief comments on MI are at page 47. Okamoto, Jeff. "Mongo's Manga: Maison Ikkoku", in Animag Volume 2, No.2 pp. 24-26 Van Melkebeke, Emmanuel. "Maison Ikkoku - The Manga" JAMM!: Japanese Anime & Manga Magazine, Issue No.2 (Feb 1994), pp. 25-34. The article about Maison Ikkoku is 10 pages long and contains information about: the story, characters, selected parts, conclusive notes <.8. ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ Glossary: (and other explanations) @glossary ======== Note: most of the entries in this glossary are Japanese words or refer to something related to Japan. @_@ - this is a confused smilie. The eyes show bewilderment. Ai ai gasa - . .6.> Diagram: / \ / | \ ----|---- | | | Hiromi Hasegawa on 94.04.23 posted in RAA: That's called "Ai ai gasa (Love-love umbrella)" in Japanese. You can also find that in Omohide Poroporo (graffiti on the wall and at the very last scene). That's usually used for a graffiti saying that so-and-so and so-and-so are going out. You do that to mock the two, or you yourself is one under the umbrella, hoping that it'll come out true (almost a wish making). Edwin on 94.04.24 posted in RAA: For people who don't know, "ai ai gasa" is kind of the practice of two people sharing a single umbrella. This is supposed to be indicative of them being romantically involved together... to me, it's more indicative of two people not really wanting to get wet, but there we go. [Although it _can_ feel romantic to shelter under one very large umbrella when the rain pours down at a trillion gallons a second just a couple of feet away... as long as it's not too windy, at least] <.6. .8.> akanbe - On Thu, 21 Jul 1994 spaik@MIT.EDU wrote: This gesture is called 'akanbe', and is similar to the 'moose antlers' sign in the US. All you do is pull down your lower eye lid on one of your eyes...As an optional extra you can close the other eye, and stick out your tongue. If you read any manga, you'll often see 'beeda' (Thats be-da, not bida) along with akanbe. This is the 'noise' that accompanys the gesture. George ghr@hpfcghr.fc.hp.com says: Here's the legend I've heard behind this gesture. Mukashi Mukashi, aru tokoro ni, ojii-san to obaa-san imashita. Wait a minute.... Well, long ago, there was an mean and selfish Daimyo. He was universally disliked by his subjects, but none could express this (since he had the right to kill them right there if they did). One day, a monk was travelling down the road and met him. The monk told the Daimyo that he had a tea leaf stuck in his eye and asked if the Daimyo could see it to remove it. The Daimyo was so intent on looking in the monk's eye for the tealeaf that he didn't notice the monk sticking out his tongue at him. Thus the gesture, pull down you eyelid (to let them look for the tealeaf) and stick out your tongue. Yes, the moose-antlers or similar expression in the US is about the same meaning. BTW: for those interested, the initial Japanese is the traditional opening for a fairy tale. It's roughly translated ``Once upon a time long ago, in a certain place, there lived an old man and an old woman.'' <.8. amike - Esperanto word: `in a friendly way' anime - . In my dialect, it usually refers to Japanese animation, rather than animation-in-general. ano - interjection used to get someone's attention. Sort of like atta - Cf. `yatta' .8.> bentou (boxed lunch) - The boxed lunch, or bentou, might be considered a Japanese equivalent of the American brown bag. Only, as is generally true in Japanese cuisine, the way the food looks is just as important as how it tastes. There is really no limit to the extravagance one might discover in opening the lid of a bentou, and even the most harried wife would not consider simply plopping a balogna sandwich into a bentou box. One can also buy bentou to eat on the train, or to bring back to the office, or have it delivered right to your desk. -- Thomas Mattman (Thu, 26 Jan 95) Wow, nice set of footnotes! ^_^ I'll just add that a lot of times it's also considered as an expression of love, e.g from a girl to her boyfriend, or from a wife to her husband. It's prevalent in anime and manga, if you look for it ^_^; ---Yutaka <.8. .5.> chan-style - Also called SD (super-deformed). This is a technique used in manga and anime wherein the artist squashes the characters down so they look like 5-year-olds. Used for comedy effect, characters' interior thoughts, etc. -- see episode 8 where Godai is trying to remember what he did when he was drunk and yelled "Kyoko -- suki da!" and he imagines the "nude dance" in chan-style. -- Melanson <.5. daigaku - or .6.> The Dappya Kaijuu (The "Dappya" Monster) - From the AnimEigo Liner note from TV Episodes Tape #4: "We've finally managed to track down the origin of the fishman in the environmental suit who appears from time to time and gets his (or sometimes their) name from their habit of ending all their sentences in the original Japanese with "Dappya!" Turns out that they first appeared in Takahashi Rumiko's first published manga, "Kattena Yatsura" (Selfish Bastards), which won her a prize in Shoogakkan's Second New Comic Writers' Contest, in 1978, and is currently available in Vol. 2 of Rumic World, her three volume short-story collection. Our thanks to Tonghyun Kim for pointing this out." <.6. ee - . Mostly used in informal situations Esperanto - A language. The vowels in Esperanto are pronounced very similarly to those in Japanese. Ex. The following words are sound roughly the same: Japanese | Esperanto -----------+------------ boke | boke ronin | ronin Godai | Godai hide | hide One difference is that the vowels in Esperanto are never clipped like the `u' sound in Japanese words like `sukoshi', `utsukushii'. glen - a narrow valley hai - heating - .8.> Bob Carragher: Central heating is definitely a rarity in Japan, at least in typical homes and apartments. Not knowing any really rich people there, I can't say how the upper class lives, but for the middle class, it's definitely kerosene stoves, which *really* stink, especially when you turn them off, and electric air conditioners (EAKON)/heaters. The latter are much more expensive, but at least they don't suffer from the smell of kerosene. Another feature is that quite often you'll find electric rugs on the floor, even in rooms with tatami mats. Between those and the heaters, you're kept quite toasty. But walk anywhere else, with the exception of the yokushitsu (room with the furo), and you freeze your buns off. Yutaka says: Only the rooms that people actually stay in get heated. Japan's one country that can't afford to waste any energy ^_^. It's always the worst feeling when you jump into the cold bed, but it's also the best feeling when it starts to warm up from your body heat after you stay in it for a while.... Thomas Mattman: (Re: the smell of kerosene) On the other hand, I had one of these in my room. When my gaijin friend complained about the smell, my Japanese friend said, on the contrary for her it was natzukashii (nostalgic); it reminded her of home. <.8. honorifics - -san: honorific for someone of status equal to yourself -sama: honorific for someone of status higher to yourself -chan: honorific for someone of status lower to yourself, and term of endearment for family and friends--very informal -sensei: honorific for professors, doctors, teachers -kun: similar to chan, but mostly applied to males [PORO93] iie - .8.> itte kimasu / itte (i)rasshai - "itte kimasu" is said by the person that's leaving; "itte (i)rasshai" is said by the person that's not leaving (but seeing the other person go). "itte kimasu" = I'll come (back), after going. "itte (i)rasshai" = (I see) you'll be coming (back), after going. It's kind of hard to translate this cleanly into English. :( -- Thomas Chan One small nitpick: ittekimasu is distal style, but not particularly polite. Itte(i)rasshai is more polite, since it uses a verb which is intrinsically honorific polite. Ittemarimasu would be a more polite (humble) way of saying ittekimasu. This is really not that important, since both of these expressions are so commonly used that they have probably lost whatever politeness "levels" they may have originally had. On the other hand, Godai does use ittemarimasu to say goodbye to Kyoko when he is afraid that she is upset with him. (Be afraid, be very afraid...) -- Christopher Noe <.8. ikkoku - .5.> janken - the same game as scissors-paper-rock. Used more in Japan than just about anywhere else. Say `jan... ken...' and then at the sound of `pon!' you both stick out your choice of weapons (hand shape). See the Deluxe Translation of Volume 8, Part 1 for a full discussion about janken -- information about the Japanese terminology and references to other versions throughout the world. <.5. kadomatsu - .6.> An arrangement of tree sprigs used to decorate the inside and outside of Japanese homes at New Year's. Although there are regional variations in the type of tree used and the places where these arrangements are displayed, most commonly an arrangement featuring pine is placed on the gate to the house, giving rise to the name _kadomatsu_, literally, "gate pine." Bamboo, SAKAKI (a low evergreen of the tea family), and Japanese chestnut are among the other types of trees used in _kadomatsu_; in some parts of Japan two or three different ones are combined. When displayed outside the house, _kadomatsu_ are usually arranged in pairs, one to the left and one to the right of the entrance. Inside, they are displayed singly. The origin of this custom lies in the fact that _kadomatsu_ are believed to serve as a dwelling place (_yorishiro_) for the god who brings good luck at the beginning of the year (TOSHIGAMI). _Kadomatsu_ are usually displayed until 7 January, but this varies regionally as well. [ILLU93, p708] <.6. kan - . Ex. Ikkoku-kan kanpai - . This is what's said as you offer a toast. kanrinin - loon squad - the trio of Godai's tormentors: Akemi, Yotsuya and Ichinose maison - francais: manga - Japanese comics. (see ANIME's definition and mentally replace `animation' with `comics') miso - salty bean paste; made by fermenting soybeans mo - sometimes used as a frustrated sigh. The proper romanization is `mou', but I prefer writing it as `mo'. nikujaga - beef and potato combo oden - .8.> Thomas Mattman: Oden is basically various things cooked in a flavourful broth. It's wonderful warming food on a cold or rainy winter's evening. Japanese houses rarely have central heating. Instead people use kerosene stoves to heat the room they're in. (Leaving the other rooms cold.) Often these stoves have a surface on top where you can put the oden (or any other kind of nabe (literally kettle) = one pot dish) to cook. I'm sure the image of being snug under a kotatsu with some oden bubbling on the stove brings back natzukashi (nostalgic) memories for others on the list beside me. [ Yutaka: Yup. although my generation's probably more used to just buying oden at Seven Eleven.... ^_^; ] The thing I can't remember is what are the things you might find in oden. I think that daikon (chinese radish), eggs, tofu(?), fish sticks and maybe konyaku (devil`s root?) are some possibilities. Also some people like to put mustard on theirs. Maybe someone who knows better can correct this? Yutaka says: I don't think tofu's an ingredient. But Thomas is exactly right about the other ingredients. I'd probably add "konbu" or "kobu" (sea weed/kelp), and either "hanpen" and "chikuwa" (both are fishpaste). And as mentioned, "karashi" (Japanese mustard) goes well with the oden. The "tsuyu" (soup, broth) is what makes or breaks the oden, IMHO ^_^. <.8. onigiri - - Commonly has an umeboshi (pickled or dried plum) at the center. .5.> onomatopoeia, Japanese style - Thanks to Curtis Hoffman for posting in RAM (on July 26, 1993) a list of 39 sound effects. Many of the sounds in this glossary entry are from his list. He said: Keep in mind, though, that a given author may make his own sounds, just to add a little originality to his work. Note: Many of these sounds will be doubled-up, like 'bashu-bashu.' bababa -- a thudding sound, like helicopter prop wash bashu -- splashing batabata -- A softer, more distant thudding, or bird wings flapping dadada -- running on hard ground Do--on -- explosion do-don -- a deep, heavy sound dododo -- waterfall doki doki - heart throbbing don don - sound of a drum doson -- heavy thud (like a bag of flour being dropped) fua-- -- yawning gabu gabu - noise of drinking thirstily, or drowning gara -- a sliding door, opening gara -- clattering of things falling down garagara -- heavy wooden clattering geho -- coughing gobo -- glubbing -- bubbles under water Gooon -- Loud, smashing sound goron -- rolling over Gou -- Roaring fire Gu--un -- whirring ji--n -- strong emotion (usually a good one) kasa -- skittering kata -- wooden rattling Kiiin -- metal hitting metal kira - sparkle (this is the sound effect that the manga uses for Mitaka) koke koke - sound of a hen clucking, "cluck cluck" kokekko -- "cock-a-doodle-doo", rooster's crowing kushu -- or 'kushun': sneezing niko -- a smile nya -- a sneer nyao nyao - cat's meow pachi -- clapping of hands pachi pachi - hand's clapping pachinko - the sound of steel balls rattling together pan pan -- wiping your hands off pika pika - shine brightly (e.g., a diamond) piku -- the sound of someone blinking pitan -- a sliding door, closing piyo -- birds chirping piyo piyo - chicken's peep, "tweet tweet" pori -- light scratching pori pori - a crunching sound poro poro - sound of tears falling pota pota - dripping rururu -- car engine shi -- Shushing sound ('be quiet') shi--n -- silence (either uncomprehending, or stunned) tatata -- someone walking on a hard floor topu -- water drop hitting water wa -- sounds children make when running around, yelling wan wan - a dog's bark za -- rain falling Za--an -- surf hitting rock zaza -- crowd noises <.5. onsen - hot-water spa osechi ryoori - .6.> In Japanese cooking, this is an assortment of specialty foods served at New Year's. Originally, during the Heian period (794-1185), the term denoted the food served at _sechie_, banquets given by the imperial court to celebrate changes of season. Today, _osechi ryoori_ is typically eaten after a celebratory toast with TOSO (spiced _sake_) and accompanied by ZONI (a soup containing rice cakes and vegetables). The foods, which are prepared in advance, are highly preservable, thus eliminating the need for cooking during the first three days of the New Year. They are often stored and served in multitiered lacquered boxes known as JUUBAKO. The dishes served vary from region to region but traditionally include _kuromame_ (stewed black soybeans), _kazunoko_ (salted herring roe), _tazukuri_ (dried sardines cooked in soy sauce), a salad of carrot and white radish (_daikon_) dressed in vinegar, KAMABOKO (broiled fish paste), _datemaki_ (sweet omelet squares), broiled shrimp and sea bream, and vegetables such as lotus root and carrot simmered in seasoned broth. Note: Each of the traditional New Year's foods symbolizes, usually through wordplay involving their names, wishes for good health and prosperity in the year ahead. [ I don't know, do you see any word play here? ] Traditionally, all dishes were prepared in the home, but today most are also sold ready-made in stores. In addition, new types of food, chiefly Western and Chinese, have been introduced to the repertoire. [ILLU93, p1166] Yutaka says: I'm not completely sure, but I think I can explain some of them. The kuromame is so that you become 'mame' (diligent?). I guess the kazunoko is for prosperity (lots of kids/eggs). I know the shrimp is for longevity and health (shrimp jump around even with arched backs ^_^). I think there's a reason for all the others, I just don't know them. Did that satisfy your curiosity, Glenn? ^_^ I know with a little research, you could probably find the reasons behind all of them. <.6. .8.> pachinko - Heart KOR Kimagure! (Sammy) on Sun, 19 Mar 1995: Hi there, I visited Japan last year and I saw SO MANY of these "arcade" places where Adults would play this machine with silver balls. These games are the games featured regularly in MI. I was wondering what's the attraction cause these arcades where EVERYWHERE! and maybe a short description of the rules and objectives. thanks! Theodore Hua on Sun, 19 Mar 1995: I think it's called "Pachinko" or something like that. There's a small Japanese center in Seattle, Yume Playcenter, that has those. It's like a pinball machine set vertically where the balls fall from the top to bottom right? As for the attraction to such games, I'm at a lost much the same as you were. Anyone know why the Japanese love playing those games? Yutaka Sasagawa on Sun, 19 Mar 1995: Probably because you can make money ^_^. "Officially", you exchange the balls you've earned for things like food, cigarettes, or just about anything you can think of, but everyone in Japan knows that you usually exchange your winnings into cash. You usually get something at the exchange inside the store (I just got pieces of plastic sticks) that show how much you've won, and take that to a back alley nearby, where there's a small booth. The booth is totally covered, so you can't see the person inside, and there you get your money. It's really illegal, but I guess it's recognized, since I've never heard any being arrested for earning money at pachinko. There are people so good at this, that they make their living off of earnings. They're called "pachipro"s. People that are really good could probably make more than $5000 a month, if not more. It's pretty much the equivalent to a slot machine here, except that pachinko stores are just about everywhere throughout Japan ^_^. Ch Yung on Mon, 20 Mar 1995: They are called PACHINKO. You put some ball into the machine and the balls will be projected thru array of pins or some blocking device. The objective is to get some ball into a hole in the centre of the machine. You can then earn bonus balls. Finally you take the balls to the counter to exchange for some goods, such as toilet paper or canned food. You might remember Kyoko at one time after going to a Pachinko meeting Godai, and throw some canned food to him madly. It's just a game to kill time really. CuSO4 Wes Shull: Check out Mangajin #34 for a good discussion of pachinko and references to other sources of info. <.8. piyo piyo - .5.> Sam P Chung (Fri, 6 May 94) wrote: Subject: Re: What does Piyo Piyo and Koke Koke mean If I remember correctly, Piyo Piyo is the name of a music group in Japan... whether that music group got their name from Maison or "other" Takahashi works... I don't KNOW... However, Piyo Piyo does pop up in other Takahashi works... in fact, err... in one of the later comics of Ranma, I think one of the Valentine's Chapters... Kunuo Tatewaki is actually wearing a Piyo Piyo apron as well... Symbolically, the Piyo Piyo is supposed to symbolize some kind of immaturity or refusal to move on in life... as Ichinose-san makes her a hand-embroidered apron in the last episodes or the movie (I don't remember which, where the little churping birdy saying "piyo piyo" is replaced by a big hen... err... saying .. geez... I forgot... starts with a K, whatever it was...) I guess it's been too long since I last read the manga. Sigh... As for the Symbolism though, I honestly do believe it is correct... I mean, all throughout the Manga... or throughout the Anime Television Series, we see Kyoko toil over whether she is being faithful to Soichiro-san... and it wasn't until the end that the "transition" from the infantile "Piyo Piyo" FINALLY becomes the mature "Koke Koke"... I forgot Ichinose-san's comment when she gave her the apron, but I remember vaguely that there was some comment about moving on with her life... I mean... if you really think about it, Kyoko had been holding her entire life back... I mean, her relationship with Godai was almost like a little chick because she hadn't allowed it to grow. When Kyoko and Godai finally got married, I think it opened new doors... and I think that is where Symbolically... this analogy with the apron really fits in. <.5. On a related topic, C.H. Yung on 94.10.05 says: .7.> I have seen a Piyo-Piyo shop inside a department store in NAGOYA near the central bus stations selling lots of Piyo-Piyo products such as Towels, Cups, Household products, etc. Sorry that I forgot the name of the Department store, but there's only 3 nearby, and the shop is located on the groud floor. Maybe Takahashi-sensei likes the product very much so that she make it's appearance in her manga ??? recycling pickup - In Japan, the "recycling man" drives around the neighboorhood, with a loudspeaker, repeating something like: "maido osawagase, chirigami koukan de gozaimasu" And goes on asking for any newspaper, magazines, etc. It's annoying when they do this in the middle of the day, even considering how noisy a typical Japanese neighboorhood is ^_^. "Maido osawagase chirigami koukan de gozaimasu" translates to something like "Sorry for the bother every time, this is the toilet paper exchange" Of course, the "maido osawagase" ("Sorry for the bother every time") part is just said as a formality, since they knowingly make such a big noise with their loud speaker and annoys the hell out of everyone everytime they come around ^_^. - Yutaka Sasagawa <.7. samoyed - pronounced SAM-AH-YED. A member of the Spitz family. It is pure white, cream or biscuit in color. It originated in Siberia and the name is taken from the Samoyed tribe who used this dog for pulling sledges, herding reindeer and guarding against predatory animals such as bears and wolves. sanbo - a wooden stand for offering food to the gods. It is made of a tray (oshiki) placed atop a stand, three of whose sides contain a hole. [CUIS87] super-deformed - refer to CHAN-STYLE taiyaki - `tai' is sea bream. `yaki' means grilled, burned, cooked. A dessert food that has no fish whatsoever. It's made out of pastry and filled with sweet beanpaste. takoyaki - `tako' means octopus. `yaki' means grilled, burned, cooked. Fried batter balls about the size of golf balls, with pieces of octopus in the batter. -- Melanson .8.> turkish baths - (the word 'toruko' was removed from the normal width compilation manga and replaced with 'soapland') I can't confirm that you're not imagining things since I have the wideban. However, I'm not surprised that this change was made. `Torku' (derived from Turkish Baths) rather suddenly became politically incorrect when some Turkish officials complained that Turkish Baths really have very little to do with the water trade. It's not hard for me to imagine publishers taking the opportunity to remove this `unword' before issuing the wideban editions. -- Thomas Mattman on 1995.03.08: udon - Bob Carragher: Typical udon noodles are much thicker than soba, which are about the thickness of pencil lead. (How's that for a tasty image. B-) Often you can get the same dishes with either udon noodles or soba. Until Thomas mentioned oden w/o noodles, and I looked up the word, I always thought "oden" *was* the noodles. [ Thomas Mattman: Udon does refer to the noodles themselves as well as dishes they're in, much in the way that soba does. This reminds me of a friend who asked his ESL class what was the longest meal they'd ever eaten. Someone replied udon %^). ] Basically, you can find ANYTHING in udon, although some might argue that you're drifting into chanpon waters. (Sorry. B-) I've seen udon with all sorts of vegetables, meats, and fish. About the only thing common between all udon is the broth and the noodles. And you definitely want to slurp and make lots of sucking noises when you eat udon on a chilly day. It's taken me three trips to Japan, but I think I've finally figured out the proper technique (with some help B-). Yutaka says: This goes for all other kinds of noodles as well. <.8. umbrella - see AI AI GASA yatta - . Something you say when you're in high spirits. Don't confuse this interjection with `atta' (see its corresponding glossary entry). ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ @index Index: .5.> ===== This Index lists many of the topics and the Keywords. The Keywords are important for quickly finding sections of the Guidebook. There aren't any page numbers to look up, so the only easy way you can find anything in the Guidebook is to use a "search" command in your wordprocessor or use the Table of Contents to find the relative location of something. Luckily, there are many keywords that you can look up. Before you use any of the keywords shown, you have to append a "@" character to the front of it. Let's take a hypothetical case: If you want to find Episode Synopsis #0, and you find out that the keyword is "ep0", then to look up that episode you use your wordprocessor's search function to find "@ep0". If you mistakenly used "ep0" instead of "@ep0", the problem would be that you would have found other parts of the document that merely refer to ep0 rather than being the actual thing. There is only one place in the entire document where you would find "@ep0", and that would be exactly where Episode 0 is. (Note: Whenever I give an example, I use a fake case. There is no Episode #0. ) Notes: Whenever you see "See XXXXXX" that means you have to look up "XXXXXX" in the Index, not in the Table of Contents. If you don't find something in the Index, you might find it profitable to search the glossary right above the Index. A: Age: Kyoko: How old is she? - Background Info, Keyword: otonashi - Complete Episode Synopses: #18 Keyword: ep18 "AKATSUKI NI KANE WA NARU" (Bells ring in the dawn). Clifford: Also from episode 93. I quote from Pascal Janin's (or who ever's) report on MI CD's: "THE masterpiece that brings tears to your eyes.. when the snow starts falling on Ikkoku-kan." Evidently, its found here, too. Complete with bells. Maybe this is the first appearance? Glenn: Nope, the first appearance is in... Episode 31: "Ikkoku-kan scandal. Godai-kun living with woman?" It's the scene when Kyoko runs after Godai and, in tears, implores him to come back to Ikkoku-kan. Actually, that particular melody was used in a few other tender scenes: Ep40 - The Christmas Stone story ending, when Kyoko and Godai are talking on the bridge and then walk home together. Ep94 - Just after Kyoko has accepted Godai's proposal, Kyoko's father accepts her acceptance... .7.> "Alone Again" (song) Gary Kacmarcik on 94.10.29 writes: "Alone Again" was the opening song for episode #24. it was also used as incidental music for that episode. it was also used as incidental in ep 27 and in the live action movie. the song was performed by Gilbert O'Sullivan. it's an early '70s song that i actually remember (a bit). i was somewhat surprised when i recognized it in MI. <.7. Animerica: A quote - See OSHIGUCHI, TAKASHI B: "Bells Ring in the Dawn" (BG Music) See AKATSUKI NI KANE WA NARU Bloopers See ODDITIES C: Car price (Mitaka's car) See PRICE OF MITAKA'S CAR Christmas cake - Complete Episode Synopses: #18 Keyword: ep18 E: Earrings: why one, rather than two? - Complete Episode Synopses: #18 Keyword: ep18 Eggs: How to tell if hardboiled or not - Complete Episode Synopses: #32 Keyword: ep32 F: Fishman see glossary under "The Dappya Kaijuu" Fusuma - Complete Episode Synopses: #41 Keyword: ep41 G: Geology: relating to Souichiro - Complete Episode Synopses: #37 Keyword: ep37 H: Hachiko: statue of a dog - Complete Episode Synopses: #49 Keyword: ep49 Hate of Kyoko See KYOKO Hugging Godai and Kozue (sort of) - Complete Episode Synopses: #38 Keyword: ep38 Kyoko and Godai - Complete Episode Synopses: #41 Keyword: ep41 K: Kyoko Her age See AGE "Why I Hate Kyoko" soliloquy - Complete Episode Synopses: #89 Keyword: ep89 L: Left-handed thread: on a bottle - Complete Episode Synopses: #54 Keyword: ep54 M: Mitaka's Car See PRICE OF MITAKA'S CAR N: Numbers: in the characters names and elsewhere - Background Info: Numerology O: Obon Festival - Complete Episode Synopses: #70 Keyword: ep70 Oddities See LEFT-HANDED THREAD Okiku-san of Sarayashiki - Complete Episode Synopses: #29 Keyword: ep29 Onomatopoeia See the glossary Oshiguchi, Takashi: a quotation from an article of his - Complete Episode Synopses: #18 Keyword: ep18 O'Sullivan, Gilbert: two of his songs - Complete Episode Synopses: #24 Keyword: ep24 P: Pachinko Kyoko's ability - Complete Episode Synopses: #26 Keyword: ep26 Piyo Piyo See ONOMATOPOEIA and PIYO PIYO in the glossary Price of Mitaka's car - see the footnotes for v2c1 and ep9. Keywords: v2c01 ep09 R: Red fishman see glossary under "The Dappya Kaijuu" S: Serifs: inconsistencies in door numbers - Complete Episode Synopses: #18 Keyword: ep18 Shibuya-ku: a ward of Tokyo - Complete Episode Synopses: #49 Keyword: ep49 Shoji: paper door - Complete Episode Synopses: #41 Keyword: ep41 Slaps: by Kyoko - Complete Episode Synopses: #2 Keyword: ep02 Souichiro See GEOLOGY T: Tanuki - Appendix: Tanuki - Complete Episode Synopses: #41 Keyword: ep41 Tofu Sellers - Appendix: Anachronisms - Complete Episode Synopses: #20 Keyword: ep20 Tokkuri - Complete Episode Synopses: #19 Keyword: ep19 Trust: comments - Complete Episode Synopses: #89 Keyword: ep89 - Complete Episode Synopses: #94 Keyword: ep94 U: Ueno Park - Complete Episode Synopses: #38 Keyword: ep38 W: Wierd uncle: Souichiro; comments - Complete Episode Synopses: #24 Keyword: ep24 - Complete Episode Synopses: #33 Keyword: ep33 Y: Yamashita Park - Complete Episode Synopses: #84 Keyword: ep84 Yukata - Complete Episode Synopses: #41 Keyword: ep41 <.5. ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ Minor Revision Notes: ~~~~~~~~~~~~~~~~~~~~~ My purpose for this section is to create a secondary Release Notes section. Unlike the Release Notes, this section will draw your attention to minor details that are worth reading in this each release. Some of these details are sometimes not indicated by the .#. change markers. 94.06.10 -- The sections which I have deleted can be found intact in Release 5 of the Guidebook. Deleted the "Further Statistics" section. Added the "Minor Revision Notes" section: this section will be useful for indicating what parts I've deleted from the Guidebook; otherwise you wouldn't know which sections there were unless you compared different releases. Modified the "General Revision History": streamlined it by deleting many lines. Shifted some notes from the Compiler's Notes to the Commentary Section: "Notes From A Synopsis Writer". 94.06.24 Corrected some of the name translations in the Background Info section (Name Summary). Deleted the "Contact Information" section by moving the snail-mail addresses into the "Main Credits" section. 94.08 Eliminated some appendices by redistributing their parts among other sections: T) Translation Notes V) Issue by Issue Commentary on the Viz Manga Translation 94.12 Deleted the Secondary Copyright Notices. ========================================================================= General Revision History: ~~~~~~~~~~~~~~~~~~~~~~~~~ 93.07.31 17:15 - 18:01 Before this moment there was nothing. Now the Guidebook has begun. Total = 136 lines. 93.08.06 6:26 total: 1262 lines 93.08.11 17:38 total: 2157 lines; 14660 words; 102000 bytes 93.08.15 1:52 The 1st Release becomes ready on this Sunday. Total = 3053 lines, 21500 words, 143 K ------------------------------------------------------------------------ 93.08.26 17:38 total: 3526 lines; 24392 words; 167204 bytes 93.09.10 11:06 total: 4469 lines; 29732 words; 206906 bytes 93.09.21 8:10 The 2nd Release becomes ready on this Tuesday. Total = 4798 lines, 31763 words, 217 K ------------------------------------------------------------------------ 93.10.24 10:30 total: 5378 lines; 36553 words; 252813 bytes 93.11.12 22:57 total: 5995 lines; 40294 words; 279977 bytes 93.11.20 10:50 The 3nd Release becomes ready on this Saturday. Total = 6230 lines, 41950 words, 285 K ------------------------------------------------------------------------ 93.12.29 0:17 total: 7477 lines; 48756 words; 346479 bytes 94.01.26 04:09 total: 9114 lines; 59895 words; 428998 bytes 94.02.06 00:20 total: 9164 lines; 60325 words; 432006 bytes 94.02.14 05:20 The 4th Release becomes ready on this Monday. (Valentine's Day) Total = 9287 lines, 61150 words, 427 K ------------------------------------------------------------------------ 94.02.21 20:47:10 The Maison Ikkoku Mailing List receives its very first post. 94.03.19 07:16 total: 12615 lines; 81141 words; 582239 bytes 94.04.20 19:28 total: 18247 lines; 121437 words; 856844 bytes 94.05.19 06:46 total: 22680 lines; 153357 words; 1076395 bytes 94.05.25 The 5th Release becomes ready on this Wednesday. Total = 24000 lines = 164000 words = 1097 K ------------------------------------------------------------------------ 94.06.13 21:10 total: 24794 lines; 170381 words; 1185680 bytes ~ 6.958992 bytes per word 94.07.02 20:03 total: 28057 lines; 191850 words; 1335389 bytes 94.08.03 16:57 total: 29527 lines; 202391 words; 1408441 bytes 94.09.09 The 6th Release becomes ready on this Friday. Total = 33150 lines = 220500 words = 1498 K ------------------------------------------------------------------------ 94.09.16 The MI TRANSLATION Mailing List begins its life. 94.12.29 The 7th Release becomes ready on this Thursday. Total = 37833 lines = 254000 words = 1726 K I uploaded it to the ftp.math.ufl.edu FTP site. Posted announcements in RAA, RAM, RACM, MIML and MITML only. ------------------------------------------------------------------------ 95.08.08 The 8th Release becomes ready on this Tuesday. Total = 42668 lines = 288000 words = 1959 K I uploaded it to the server.berkeley.edu FTP site. ______________________________________________________________________________ ////////////////////////////////////////////////////////////////////////////// ------------------------------------------------------------------------------ --- End of Maison Ikkoku Guidebook: Appendices and Glossary --- End of document: Maison Ikkoku Guidebook Release 8 --- Copyright 1996 by the Misery Loves Company