Kamiya (Yamaguchirow K/K)
Sep. 16th, 2006 02:00 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
wombat1138This doujinshi has several distinguishing features that set it apart from the most commonly-shared characteristics of Yamaguchirow's work: it's a dedicated single-story volume like the Kyouken series, Kaoru initially takes the lead, and while most Yamaguchirows have some sort of special guest kink (toe-sucking, rope bondage, dildonics), "Kamiya" has at least two of them (to be revealed in due time).
It also uses a mixture of fonts in the dialogue, including a swoopy script-like one which I find especially difficult to read. Usually the default font is an elegant compromise between legibility and scriptiness, with variable line width and vestigial "brushmarks" between the main strokes. This time, the main font is a rather stark constant-width sans-serif similar to Arial or Helvetica; the usual default also shows up occasionally, but the swoopy one has thick "brushmarks" that make it harder to figure out what the main strokes *are*. Also, my copy is unusually pale in some sections, which doesn't make deciphering the handwritten lines any easier. Grumble.
Standard (in)accuracy disclaimer: I have no idea what I'm doing, except for juggling a lot of reference books and web lookups. Please do not convert these into English-language scanslations or I will be cross, and there's a good chance they'd be wrong anyway.
Format key--
Frame/balloon order is from right to left and from top to bottom. The kana for "tsu" is sometimes used to indicate a glottal stop, as in a sudden gasp or an abrupt break in speech; in those cases, I'll transcribe it as "*" instead.
= raw romaji: [kanji], hiragana, KATAKANA, words-linked-inna-phrase, (handwritten marginalia), ~sound fx~
(Every so often, I splat down a comparison from wot-club's IY translations, which indicate kanji with CAPS instead of [brackets].)
- expanded transcription: grammatical contractions unpacked from the raw transcription if necessary (e.g., "inna" <- "in a") or other analysis
= raw gloss: [word function]*, literal-translation
*functional abbreviations: [T]opic, emphatic [S]ubject, [O]bject, unidentified [P]article, [C]opula, [Q]uestion, [H]onorific; [aX] (animate existence), [iX] (inanimate existence), ["] (quotation), [rQ] (rhetorical question), [mM] (emotional emphasis), [fM] (factual emphasis)
Narrative descriptions
[snarky notes]
-- "occasional coherent(ish) translations"
Pagination: #N#
Framebreaks: +++ (sometimes I leave these out if nothing much happens in each frame)
Balloonbreaks: | (if I compress several short balloons into the same line of text; otherwise, I just start a new line for each balloon. Usually. On the other hand, sometimes I use these to break up individual lines in a single longish balloon.)
No visible page numbers as printed, so I'm assigning the beginning of the story as page 1. There's also a one-page frontispiece that repeats the kanji for "Kamiya" up top and has "--KAMI NO TANI--" ("god(s) of the valley"?) in katakana along the bottom, though I don't know why. The only connection I can think of is very indirect-- while Sano adopted the name "Sagara" in honor of his beloved Captain Sagara, the rest of his family back home ended up with the name "Higashidani" ("eastern valley"; when written with two kanji, the second one would be pronounced "tani" on its own).
#1#
First panel: someone's fingers sloshing through Kaoru's labia. The fingers' owner isn't specifically identified until the next page, though the dialogue gives certain hints.
= [Kenshin] | [ome]-- [soutou] BUCHI-[ko]nda daroO
- "omee": sloppy pronunciation of "omae", a not particularly respectful pronoun for "you"
- "[soutou] suru": correspond, suit, become -> "[soutou]": suitability?
- "buchi": ripping/snapping noise? Ouch.
- "konda" <- past of "[ko]mu" (being packed/congested); "-[ko]mu" is sometimes a suffix for inward action
= [name] | you suitability tore-into must-be[C]
-- "Kenshin | ya sure did plow into her."
Kaoru:
= ya*...
-- "No, don't..."
~kui* | TORO | KOPU~
- "toro": syrupy liquid; "kopu": liquid pouring out
-- "spread | ooze | drip"
+++
The fingers swipe against Kaoru's face, painting it with juices (~nuru~: slather).
= sore-tomo... KORE [jou]-chan-no ka?
- "jou-chan": "young lady" or "little girl" plus diminutive suffix; I like to render this as "chicklet"
= or-else?... this chicklet's [Q]
-- "Or is *all* of this from the chicklet?"
Her:
= yaa... YAMETE... nee...
- "yamete" <- "yameru" ("stop doing", "abandon")
- "ne": agreement-shill rhetorical question along the lines of "...right?" or "...okay?"
-- "No... stop... please..."
+++
Full-body shot of Kaoru. She's sprawled on her back; Kenshin is restraining her from behind with both arms wrapping over her shoulders to hold her thighs open. The fingers have returned to their previous location and belong to someone else.
Her: (in the regular default font)
= [Kenshin]--* | konna-no yaa... yamete...
-- "Kenshin-- | I don't want this... stop it..."
Sound fx near the fingers:
~HIKUN | KUPU KUPU~
-"hikun": trembling
["kupukupu" occurs in numerous Japanese websites, but I have no idea what it means there. However, the fingers are certainly busy, either plunging in and out or "tickling" her from the inside.]
someone: (back to the sans-serif in three different balloons, which doesn't mean that all of them belong to the same person; one or two of the sound-effects may still belong to Kaoru despite the font change)
= aa* | haa | koko-wa sonna-ni [jou] 'gatte-nai ze
- "-gatte-nai" <- neg. present progressive of "-garu", an "apparently" or "might be" suffix for speculating about someone else's thoughts/emotions; usually attaches to a verb(like) stem rather than a noun, so here it might be clipped back off an implied "is" verb, though I can't find any examples of it actually being attached to forms of "iru", "aru", or "desu".
- "ze": particle for emphatic male declaration
= [panting x 2] | here[T] that-much chick doesn't-seem [X]
[Loosely borrowing from previous line and flipping grammar; also, wincing as usual at the hazy line between ritual false protests and actual non-consenting rape.]
-- "[still panting x 2] | Looks to me down here like ya want it, chickie."
Handwritten next to the last balloon:
= ([su]i-tsuite-kuraa SUGE--)
- "[su]u": suck, inhale
- "tsuite-kuraa" <-?? "tsuite kuru" (follow, accompany) <- "tsuku" (be attached/added), but no "kura" from "kuru". OTOH, judging from "sugee" (sloppy pron. of "sugoi"), "kuraa" might be similarly slurred from something like "kurai" (approximately).
[Several other "tsuku" verbs: "ignite" (intransitive), "arrive/sit", "start a job", or "prick/stab".]
[Alternately, "[su]i[tsu]ku" with the same initial kanji: "cling to" or possibly "suck out".]
= suctioning approximately great
-- "(Wow, she's practically sucking me in--)"
Very faintly, near Kenshin's right elbow: ~gugu~ (Kaoru grabbing his arm and trying to push it away)
#2#
Closeup of Kaoru's face: ~bikun~ (jolt!)
= aa*
+++
Closeup of someone's hand and trouser-snake: ~GUGU*~ (tugging it into fully active mode)
= saa [honban] da...
= [X] public-performance is[C]
-- "On with the show!"
+++
Finally, a wider-angle shot of the entire tableau. While Kenshin keeps hanging onto her from behind (the back of her head is against his chest, and one of his hands has moved from her thigh to the same side's breast), Sano is cheerfully plunging his way in.
Her:
= IYA* | iya* [hai]renaide--* | [Sanosuke]*!!
- "hairenaide" <- neg. command of "haireru" <- potential of "[hai]ru" (enter): "don't be able to enter"?
-- "No, don't-- | you can't enter me, you can't!-- | Sanosuke!!"
Sano:
= [ore]-no-wa [Kenshin]-no to-wa hito [aji] [chiga]u ze--*!
= mine[T] Kenshin's even-though person taste differs [X]
-- "Hey, but this'll be a change with someone else besides Kenshin--!"
#3#
Kaoru suddenly wakes up from her naughty nightmare(?).
= ha*
-- "Yeep!"
+++
Yahiko is still sound asleep on his own futon: ~kuka--*~ (sleepy breathing, not quite snoring)
And yes, she was sleeping alone on hers. Thought balloons:
= yu... [yume]... | [atashi] 'tta ka nante H-na [yume]-wo...
- 'tta <- itta? <- past of "iru" (animate existence)
- H: pronounced "ecchi" in Japanese; "H suru": "have sex", "H-na": "dirty/perverted"
= dream | I was[aX] [Q] how perverted dream[O]
-- "Just a dream... | Why was I having such a perverted dream?"
~kaa--*~ (blush)
+++
handwritten additional thought:
= (... chotto [o]shikatta kana-- to-ka [souzou]-shite)
- [o]shikatta <- past of verblike adjective "[o]shii" ("regrettable" or "precious"; its general theme seems to be something cherished that was lost?)
- "souzou suru": imagine
= small-amount was-regrettable I-wonder-- including/similar imagining
-- "(But was it really so bad to have a dream like that?)"
+++
She decides that yes, it was; she has a small fit at herself with two squiggly clouds of incoherent indignation and ~POKA | POKA~ (impact from smacking herself on the head)
marginal note:
= ([ji]te [kira-naka])
[I'm extremely uncertain of the pronunciation of all three of those kanji in this context. I also can't find a definition for the two-kanji compound at the end, although it occurs in documents that have to do with Japanese war reparations to China for WWII. The first one has several different possible pronunciations, but generally means "self"; the meanings of the other two are respectively "hate/dislike" and "middle/inside".]
-- "(full of self-loathing)"???
+++
Struck by another thought, she rummages around inside her futon: ~goso~
#4#
And discovers that she's lubed up and ready to go: ~nuru...~ (slather)
+++
= (YATA... [nure]rete'ru...)
- "yata": probably from "yatta" <- past of "yaru", a brusque verb for "do"; normally "yatta" is self-congratulatory ("Yay, I did it!") but it certainly doesn't look that way here.
- "nurerete'ru" <- "nurerete iru" <- pres. progr. of "nurereru" <- clipped version of "nururareru" <- potential of "[nure]ru" ("drench", instransitive): "can continue to self-drench"
[The clipping takes place via something Senko Maynard calls "ra"-deletion; it takes place in verbs' potential forms and can be useful for telling them apart from the (sometimes otherwise identical) passive forms. She also notes the corresponding phenom of "sa"-insertion, in which that syllable is stuffed into a verb's causative form if it isn't already there ("nuresaseru" would remain the same, but "ikuseru" ("causes to go") would become "ikusaseru", apparently on the principle that the longer a verb is, the more polite it sounds.]
= did... can-keep-self-drenching...
-- "(Drat... I'm still staying aroused...)"
She considers her options for a moment (~kyun~: normally "grab", but here probably the sound of her biting her nails), then sits up and pulls a darker extra robe around her shoulders (~SU*~, cloth rustling). Yahiko is still asleep (~kuka--~).\
Fashion note: I'm not sure where the robe came from; it wasn't spread out over the covers like an extra blanket, she wasn't wearing it when she woke up, and I'm not sure if she moved from her futon far enough to reach a shelf or whatnot.
+++
She closes their room's door-screen behind her as she leaves (~TAN~: prob. variant of "ton", something softly closing ("click"?)) and walks down the hallway, still clutching her rustling extra robe around her (~su...~) until she's kneeling next to Kenshin's pillow as he sleeps.
Handwritten thought:
= ([raisuki] 'chatta...)
- "raisuki": I had a hell of a time trying to figure this one out, and I'm still not certain I've got it right. But I *think* this kanji-like character is actually a seldom-used radical that isn't normally used as an individual word in Japanese (though in Mandarin it's pronounced "lei" and means "plow handle"); all radicals have a descriptive name, and this one seems to be "raisuki": "a tree with three branches". This may have a connection to the three-way in Kaoru's dream, though I can't find any examples online of the name being used that way. However, that fits with her blush in this panel, which wouldn't make sense in terms of what I originally expected this to mean, something along the lines of "He's sleeping so soundly, it's a shame to wake him up" etc.
[As a possible pun, my main online kanji database lists "come" as another meaning for that radical, but I have no idea in what sense-- verb? noun? literal? idiomatic?]
- 'chatta: presumably truncated from "ite shimatta" ("it was finally/unfortunately in existence"?)
-- "(That three-way boinking was scary)"
Much later note (31 Mar 2008): apparently another name for the "raisuki" radical is "suki-hen" (left-handed plow), which may be the intended reading and the setup for a multilayered pun-- I'm not sure whether normal Japanese usage really allows a synonymous reading of that phrase as "perverted love", or "plow" as a metaphor for sex (as I'd coincidentally demonstrated in English during the opening scene), but the first kanji in Sanosuke's name definitely means "the left-handed direction" or "the left side" etc.
+++
Thought balloon:
= yappari [o]kosu-no yo sou
[Normally, this kanji can produce two different verbs that both mean "awaken": "[o]kiru" (intransitive) and "[oko]su" (transitive). Yamaguchi seems to've intended the latter but stuck in a redundant "ko" kana.]
= as-expected waking[noun] [X] that-way
-- "I thought so-- I'll have to wake him up. This way..."
#5#
She smooches him, still thinking to herself.
= demo | chotto dake... ne...
= but | small-amount only [rQ]
-- "But... | warm him up slowly, right...?"
+++
~chu...~ (smooch)
He blinks his eyes open, still barely awake.
#6#
The first moan here (~N...~) is probably hers, since it's louder (or at least in katakana) and she's already several steps ahead of him; he probably has the softer moan (~n--~) in the next panel. But back to the dialogue as he starts to sit up.
Him:
= [o]kite'ta no?
[The intransitive "[o]kiru" this time.]
-- "Did you wake up by yourself?"
Her:
= [ima]... ne...
-- "Yeah... just now..."
The heavy breathing starts up ("han*") as the moans continue and the kissing intensifies (~kuchu~); I'll probably ignore most of those sound effects this time.
#7#
Kaoru's outer robe slides off her shoulders (~PASA*~, "plomf") as she wraps her arms around his neck to pull him into sitting the rest of the way up (~zuku~, "hup!"). He starts to open up her main sleepwear (~kuku*~, which is a bit odd here-- the motion doesn't seem emphatic enough to be definite "yanking", so it may just indicate that he's still half-asleep: "fumble"?) and then attempts to tune her nipples to his favorite radio station (~kuni | kuni~, "tweak tweak").
#8#
He slides a hand up her leg to goose her (~tsu~?) and she gasps in aroused surprise ("a*").
Him:
= sugoi... | mou... konna-ni
-- "Wow... | you're already this slippery..."
Her: ~bikun | nuru~ (jolt, slather)
= gomen-nasai...
-- "Eek, sorry about that..."
+++
Him:
= ? doushite [ayama]ru n'de-gozaru?
[Also, I'm going to ignore his usage of "de gozaru".]
-- "Hm? But why are you apologizing?"
Her:
= (sono...) dakara... | ...shitakatta mitai... (na no...)
[The two verbs don't seem to be directly linked to each other; the "try and see what happens" suffix mode of "miru" follows the "-te" form of another verb, which "shitakatta" isn't, although it might carry over into an understood "shite" between them. The particles at the end are more space-fillers than really functional, I think.]
-- "That's because... | ...I wanted to do... I want to try... (um, well...)"
Affectionately, he glomps her face against his chest: ~gyu--*~
#9#
She smooches him there and sucks on one of his nipples (~chu | churu | chuu~, "smooch | smoochy | slurp"), making him gasp ("--ah!"). Then she demonstrates her own battoujutsu on him (~kyuu...~, "pull") and dives down into his lap, giving him a pleasant jolt of surprise (~bikun~) as he moans her name ("Ka-o-ru", in individual kana).
#10#
Unsurprisingly, he continues to moan while she gives him a tongue-bath (~pechu pechu~, "slurp lick"); I can't identify the katakana(?) sound effect over her knuckles in the third panel (~SHIRO~?) but would guess that she's also moving her hand up and down, at least until another display of Kamiya Kasshin sword-swallowing technique (~jupu jupu~, "glmph shlurp"?). Then she partially sheathes his sakabatou in her bare cleavage and asks him a silly question.
= [Kenshin]... | [kan]jiru?
-- "Kenshin... | how does this feel?"
Him: (with remarkably wobbly balloon outlines; normally, he gets to be the calm one)
= [kan]jinai WAKEnai de-gozaru
- "wakenai" <- neg. of "wakeru" (share?), or "wake" (reason, circumstance) + "nai" (neg. iX)? AnimeLab also has two different entries for "wakenai" (based on the "reason" kanji, not the "share" one) as a modifier that means "eas(il)y" or "smooth(ly)", via "without reason"???? (without special conditions?)
[Foo. "It doesn't feel pointless"? "It doesn't feel smooth" <- converse of "It feels rough"? He looks overwhelmed at the moment, so it's not as if he isn't enjoying it; also, her mouth and breasts shouldn't be covered with sandpaper. "It doesn't feel reasonable"?]
[Semi-making stuff up.]
-- "It feels... like I'm losing my mind."(???)
#11#
Her: "ja..." ("Let's see what this does" or "Let's try this now"?)
Still feeling experimental, she caresses his testicles (~kuni~) and then slides one finger up into him for a prostate massage (~ppu~?). While she continues to knead him up front with her other hand (~kuchu kuchu~, slurpy suction almost like kissing), she wiggles that finger around (~gugu~). He looks even more overwhelmed, so she asks him more silly questions.
= koko mo?
-- "Here too?"
Him:
= motto... yukkuri...
= more slowly
-- "Slow... down..."
Her:
= kou? | nee dotchi-no [kata]-ga [kan]jiru-no?
- "dotchi" <- "dochira": "which one of two choices"
-- "This way? | So, which hand feels better to you?"
She licks his ear, too (~pichu~). He manages to choke out a silly answer.
= ka-o-ru | dotchi-mo... [kan]jiru yo
-- "Ka-o-ru | both of them... feel great..."
#12#
She decides it's her turn now, and tucks aside the hem of her robe (~SU...~) as her heartbeat pounds all over the place (~DOKI DOKI DOKI~). She keeps semi-teasing him while she lines him up and sloooowly lowers herself onto him with much ~nunu nu~ seepage.
= sore ja... ne... | koko mo? | hora
-- "In that case... | how about here? | Look--"
He clutches her waist, perhaps in an attempt to speed up the ~nuru nuru~ slithery wiggling.
= [Kaoru]... [dono] jirasa... naide...
- "jirasanaide" <-? "shirasanaide"? if he's barely able to speak clearly anymore, but what's the root verb? "shiraseru" is the causative form of "suru" (do); the negative imperative would be "shirasenaide", but if he's mangling one syllable, he can probably flub two while he's at it.
["Don't make me do this"? "Don't cause this to happen"?]
-- "Kaoru... d-don't... do this to mee..."
She partially hushes him with one hand over his mouth. Not the same hand that was up his butt.
= [ho]shii no?
-- "Is that what you want?"
#13#
He tugs at her hand, roughly brushing it against his mouth (~KIRI~ is usually "scrape", but on the other hand could also mark urgency ("Oh God please NOW")).
= [ho]shii yo
-- "Damn straight, woman."
He grabs onto her thighs (~kyun~), pulls her all the way down (~nupu*~), and shakes her back and forth like a James Bond martini (~ZUPU ZUPU~). Her breathing speeds up (~haa... | fu*~).
= aa | sugoi...
-- "Oh-- | that's amazing..."
#14#
Now he gets to begin his revenge. Bwahahah. He shifts the motion to up and down (still ~zupu zupu~) and starts to ask her silly questions too.
= kou?
-- "How about this way?"
Her:
= un | ii yo* | SUGOKU [kimo]chi ii
-- "Yeah | that's good | such amazing sensations."
She leans backward; the ~gui gui~ grabby sounds may be from her, clutching behind her for support, since I don't see Kenshin's hands in this panel. However, the motion lines suggest that her hips are now tilting around and around.
= yan | [nemoto]-made [hai]tte'ru [oku]-ni... [a]tatte'te... [kan]jichau...
- "haitte'ru" <- "haitte iru" <- pres. prog. of "[hai]ru" (enter, fit inside)
- "atatte'te" <- "atatte ite" <- "atatte iru" <- "[a]taru" (hit, strike)
- "kanjichau" <- "kanjite shimau" <- regret/finality from "[kan]jiru"
= [?] | until-base/root is-filling-up into-depths... continues-striking... finally-feels...
-- "Ooh | you're filling me up so much... pounding deep inside me... I'm about to..."
She does; ~bururu~ is her head whipping back and forth as she does her shrieky moan thing.
#15#
He's still holding onto her hips; ~petan~ might be his grip firmly anchoring her, or it might also be her weight semi-collapsing back down. Her whole body slumps forward onto him. He grins.
= doushita? [tsuka]reta?
- "[tsuka]reru": get tired
-- "What's wrong? Did you get exhausted?" (or "Are you tired out?")
Her:
= ...datte sono-mama-de to Itchai sou nanda-mon'...
- "itchai" <- "itte shimai" <- participle? of "itte shimau" <- regret/completion of "iku" ("go", or idiomatically "come" in orgasm)
- "mon" <- "mono" (thing, stuff)
= however/because from-present-condition and just-came[noun?] that-way that's-the-thing
[very very loose semi-guesswork, since I can't fit the pieces together]
-- "Give me a few minutes to recover-- I just came, you know?"
+++
Him:
= doushite GAMAN-suru no?
- "gaman": willpower, self-control; "gaman suru": tolerate, withstand
[I assume this line is his because of the nice smooth balloon outline, though she could possibly be asking him, "Why are you still holding back?"; I can't quite get this to feel consistent with the next line, though.]
-- "Recover? Why?"
Her:
= IYAN [issho]-ni IKU-noo*
[This line seems as if it should work out to "No, we always come at the same time" or "No, aren't you going to come too?", but her face seems a bit distressed/worried... she doesn't seem to be seductively inviting him right now, so maybe it's just an apprehensive factual statement.]
-- "Well, usually we come at the same time, so... oh no--"
+++
He licks her ear.
= [kawai]i koto-wo [i]u
-- "It's so cute when you say that."
marginal note:
= ([ona]ji [waza]-wa WAZA-to?)
- waza: task/skill; "onaji waza": same technique; "waza to": on purpose, deliberate(ly)
-- "(deliberately copying her)"
Aha-- compare that panel to the one at the bottom of page... #10, I think... when she licked his ear in the middle of torturing him; he's still taunting her, and now giving her a warning that it's his turn to torture her with extreme arousal. He pulls out (~zuru*~) and turns her around (~kururi~) so she's facing away from him. She's startled, but doesn't have time to finish asking what's going on.
= na*
-- "What are you--"
#16#
He redocks (~zupu*~) and pulls her hips all the way down into his lap. She protests.
= ya* | dameee* | [hai]tchau* | ya
- "haitchau" <- "haitte shimau" <- "[hai]ru"
-- "No, please don't-- ack, you're already inside me again?"
To keep her from shoving away, he grabs both of her arms behind her back (~ba~) and mocks her by repeating "DA-- ME" (not very nice of him: "'Please don't.' Hmph." or whatever phrase seems equivalent to the more direct translation "useless/forbidden").
+++
They're in a slightly different position now: her arms are still behind her back, but instead of directly holding them, he's pinning them between their bodies by wrapping one arm around her for a breast-squeeze (~muni~) and using his other hand to trackball her clitoris (seen in closeup in the first panel of the next page; for now, there's only the ~kui kui~ squeezing/pressing noise). She continues to protest despite the premonition of another orgasm (~bikun | bikun~).
= a* dame* dame* | soko-wa ijitcha yaa
- "ijitcha" <- "ijite shima"? <- "ijiru" (handle carelessly), but there doesn't seem to be an exact form "shima" from "shimau"... slurred from a slightly different phrase, the same way Kenshin couldn't talk straight earlier?
-- "Hey, stop playing with me down there!"
Him: DOKO?
-- "Where?"
#17#
The former ~kui~ noises have turned squishier, into ~kunyu kunyu~. She starts panting really heavily (~HAA | HAA~) but still manages to get some words out:
= dame* mou... i... IKUu
-- "Don't, or I... I'm almost coming..."
Helpfully, he says "Itte ii yo" (~"Good-- go ahead" or "You're coming again? Great!") as if she actually needed his permission/commentary. As she takes off, he hangs onto her with a firm grip down there (~kyu~) and a quiet grunt of his own (~n*~). There's another ~BIKUN~ in front of his face as he murmurs into the back of her neck, but it could either be one of her aftershocks or his own reaction.
= sugoi... [o]shi[da]sare sou (shimaru)
- "oshidasare" <- <- "[o]shi[da]su" (squeeze out) <- "[o]su" (push) + "[da]su" (emit, release)
[Gr. I've having what seems to be an inordinate amount of difficulty pinpointing how "oshidasare" develops. The passive form would be "[o]shi[da]sareru"; the potential form would be "[o]shi[da]seru"; neither of those qualify for the slang mutations cited from Maynard. The passive form seems the most likely route, but I don't know what would strip it down to the bare stem-- hmmm, this is much easier to work with if I ignore the prefix and just concentrate on the "[da]su" part.]
- "dasare" <- participle of "dasareru" <- passive of "[da]su"
[...so the passive participle of "[o]shi[da]sareru" would mean "being squeezed out". 'Kay, fine.]
- "shimaru": two different verb candidates; one means "close/shut" and the other means "tighten, harden". Mmm.
-- "That feels great... being squeezed by you like that (it makes me even harder)."
Blinka.
Diction note: as if it needed additional features beyond the three-way dream scenario and the prostate massage, this doujinshi's dialogue is *much* more descriptively explicit than Yamaguchirow's usual standard. Or at least the standard of my translation victims up to now-- from what I remember of them at the moment, most of the dialogue during the actual sex is limited to Kaoru's ritual protests ("Oh no, I'm begging you, *please* don't give me *another* orgasm!!!") and Kenshin's reassurances that everything will work out fine. The main actual description that comes to mind is Kenshin occasionally announcing that his spooge is on its way out, and even that's just a few gasped verbs rather than detailed statments.
#18#
He's still kneading one of her breasts (~monya~ mammary grope), and there's also some ~HIKU | HIKU~ down by their butts (their bodies trembling, or maybe just hers for now). She slumps back against him with a ~kuta~ "flop" beside her head).
= Kenshin no | BAKAA...
-- "Kenshin... | you twit..."
Him:
= [daijoubu]? | jaa | [issho]-ni Ikou
-- "Are you all right? | Okay then-- | let's have some synchronized orgasms."
He dumps her down onto her hands and knees, pushing her shoulders down (~gui*~). I think that's her saying "e" at the bottom of the third panel: a woozy "Huh? What's going on now?", or an dazed "Okay, yeah" while she's still out of it?
If it is agreement, it doesn't last, once he resumes thrusting into her again with large, ominous ~ZU ZU~ pounding.
= ya*... dame* mada | [dou] icha iyaa*! | i*... | DAMEEEE
- "dou": motion; with a different pronunciation, the same kanji can also be used in two complementary verbs that both mean "move/change": "[ugo]ku" (transitive/active) and "[ugo]kasu" (intransitive/passive).
- "icha" <- "ite shima"
[Indulging in lots of interpolation here.]
-- "Hey... not yet! | This motion is going to make me come again! | No, don't | I-- I'm going to..."
Annoyed moment: finally spotted some pre-printed page numbers; as usual when I see them in Yamaguchirow, they're tucked into the bottom inside corner, making them almost invisible unless the pages are opened wide enough to (imho) endanger the structural integrity of the doujinshi's spine. Since I'm already this far into my own pagination count, I'll just add the original numbers in parentheses after those.
#19# (23)
With a futile little ~ba*~ (whap), she tries to break his grip on her butt (he's pulling it back and forth to supplement his own motion, resulting in ~junyu* junyu*~ (juicy churning).
= kenshin* | yaa | [to]mete*
-- "Ken... shin | no | stop it--"
Him:
= doushite? | [ita]i?
-- "Why? | Does it hurt?"
+++
Her:
= chiga*... | [kan]ji... sugichau... mo... u | dakara... o[negai]
- "chiga" <- "chigau" (differ, be incorrect)
- "kanjisugichau" <- "kanjisugite shimau" <- completion/regret of "kanjisugiru" <- "[kan]jiru" (feel) + "sugiru" (surpass, elapse): "unfortunately/finally feel too much"
-- "N-- not exactly | but it already... feels... too strong | so... please..."
+++
= mou [yuru]shite | atashi... atashi*
- "[yuru]su": allow, forgive
-- "I don't want any more | I... I--"
Him:
= nanda | yokatta
- yokatta <- past of irreg. verblike adj. "ii/yoi": literally, "that was good" but id'ly "that's a relief" or "I'm so glad" etc.
["nan da" is just a statement ~"so that's what it is" or "that's it"; picking up context from his earlier question.]
-- "So it doesn't hurt? | That's good."
#20# (24)
Holy crap, he's in the middle of turning her sideways by hoisting one of her legs up over his shoulder, spreadeagling her waaay open: ~GISSHI~ (creak)
Her:
= yokunaiiii*!! | (iyaaaan)
-- "It is *not* good!! | (aieeee!)"
[the second line is handwritten next to her hair)
+++
Him: yokunai? ("It isn't?")
Her: dakara ("No, because--")
He smooches her (~kuchu~) to cover up her mouth, but it only works for one panel. By the next one, Kenshin has finished flipping her onto her back and she's talking again:
= [yo]sugiru N'da*... 'tteba*
- 'tteba <- "to itteba" <- technically, the logical-outcome condition of "to iu" ("and" + "say), but since "to iu" is usually condensed down to 'tte as a quotation marker ("I told you..."), 'tteba is often just a more emphatic version ("How many times do I have to tell you...?"
-- "It feels *too* good... I already said so--"
#21# (25)
Big ~JU JU~ juicy sounds again as she calls his name, first in kanji and then in hiragana:
= [Kenshin]! | Kenshin...
He's starting to lose it too; sweatdrops are falling off his face (~PODA~): "Nani?" (What?)
Her:
= mata... [ku]ru* [ku]ru noo*
-- "I-- I'm about to come again, I'm coming--"
+++
Oh boy, is she ever.
= [tsu]ite motto [fuka]ku
- "[tsu]ku": thrust; "[fuka]i": deep/intense
-- "Give it to me hard and deep!"
He obliges, forcefully ramming/grinding ~GITCHI GITCHI~ while she wraps her arms and legs around him.
= ii yo* | FUU | Kaoru
-- "Okay-- | [deep panting breath] | Ka..oru"
Her: ii* ("So good")
Him(?): [kan]jite ("I feel like I--")
#22# (26)
The impact sounds on the far right of the first panel aren't exactly ~DON DON DON~ hammering-- there are some extra katakana in the middle-- but they're probably close enough. She definitely has ~HAA HAA~ harsh panting around her face, though.
Their big finish is plastered with enormous ~DOKUN DOKUN~ pounding heartbeats. Kenshin has a discreet little "ah--" choked gasp, nearly invisible compared to Kaoru's loud wailing. (I wonder if Yahiko is stil asleep back there.)
#23# (27)
He collapses beside her with a ~kuta~ exhausted flop. There are a few short lines which could belong to either of them.
= haa (SAIKO--) | [mizu]u... | su... sugohi...
- saikou: maximum, best
- sugohi: blurred pronunciation of "sugoi" (amazing)
-- "(wheeze) That was the best ever... | W-- water!... | 'Zat was great..."
Comment next to the cup:
= ("Kenshin]-ga [ku]nde-kita [mizu]...)
- "kunde" <- "[ku]mu" (draw water)
-- "(Kenshin was the one who brought back some water...)
+++
Her: (annoyed again)
= yamete 'tte [i]tta no-ni hidoi!
-- "Even though I told you to stop-- that was terrible of you!"
["hidoi" isn't actually in the past tense here, so "-- you're a terrible person!" might be more accurate.]
Him:
= sono wari-ni wa [kan]jite'ta KUSE-ni
- "wari": proportion? -> "wari ni": relatively
- "kuse ni": "even though" or "despite", with an overtone of disapproval at an inappropriate/abnormal condition
= (that proportion)[T] was-feeling despite?
[A fan translation of a "Sailor Moon" lyric reads "Sono wari ni wa yoku neteiru wa ne" as "You sure sleep a lot given what you've just said", presumably via "that-proportion[T] is-sleeping-well[T] {rQ]"...?
-- "Even though it was feeling really good for you?"
~KONN~ (next to his speech balloon, but with an arrow pointing to her)
["konkon" could be the sound of continuous quiet coughing, or a light "bap" similar to a pebble hitting the floor; if this were Megumi, it might also qualify as the sound a fox makes. The main explanation that's occuring to me is that it's their foreheads quietly bapping against each other as he turns to face her.]
Her: ~bu--*~ (Hmph!)
= shou-ga-nai ja-nai!! [atashi]-no sei ja nai wa yo
- "shou ga nai" <- "shikata ga nai", lit'ly "that method doesn't exist" but more loosely "Oh well, that's how things are, there's nothing anyone can do about it" etc.
- "sei": cause for blame?
-- "As if you couldn't help it! It's not *my* fault!"
+++
Him: ~nita~ (evil grin)
in margin:
= ((ya) o-[ki]-ni-[i]i)
[The initial "ya" is set off by a small circle, maybe to mark this as a note from Yamaguchi rather than something from one of them.]
- "[ki] ni [i]ru": be pleasing or suddenly attractive
-- "((Ya): he loves to hear that)" or possibly "(he turns on the charm)"?
Her:
= SUKEBA [wara]i-wa YAMEnasai'ru*!
- "sukeba" <- variant of "sukebe"? ~"lewd, perverted, oversexed"; it seems to be used a lot in IY to describe Miroku.
[Or at least I *think* that kanji is from "[waru]i" (smile, laughter); the scripty font makes it nearly impossible for me to be certain, but that's the most likely candidate that popped up from searching through anything that looked vaguely similar to the damn squiggle.]
-- "Stop laughing, you pervert!"
+++
Him:
= demo | konna [yofu]ke-ni [kon'ya]-wa doushita n'de-gozaru ka?
[Interpolating some stuff]
-- "Anyway. | What made you come over here like this in the middle of the night?"
Her: ~giku~ (surprise, "twitch"?)
#24# (28)
She rolls away from him, embarrassed.
= [oko]ranai?
- [oko]ru: get angry
-- "You won't get mad?"
Him:
= ? un nani?
-- "? No... what was it?"
+++
He kisses her shoulder (~chu~) as she starts to tell him.
= SUGO--KU | H-na [yume]-wo [mi]chatta-no
- "michatta" <- "[mi]te shimatta"; the idiom for dreaming is "yume wo miru" (see a dream) instead of the English "have a dream".
[Not quite sure whether this "sugoku" is "Great, I'm relieved that you won't get mad" or part of the next line, modifying "H-na"; might as well combine them both.]
-- "(phew) Well... | I had a really naughty dream."
Him: donna ("What kind of dream?" or mose loosely "What was the dream about?")
+++
Her:
= sore-ga | [Kenshin]-to [Sanosuke]-to 3P shite'ru [yume]
- 3P: pronounced "san-pi"? the nickname for menage a trois
-- "In this dream... | both you and Sanosuke were having a threesome with me."
+++
Him:
= [Sano]-to wa toko made yatta?!
- "toko made" <- "tokoro made": lit'ly "until the place", idm'ly "as far as possible"
- "yatta" <- past of "yaru", brusque/rude verb for "do"
-- "You were going all the way with Sano too?!"
= ([Sano]-wa umagatta n'de-gozaru ka?) | (dono [hen] made [hai]reta n'gozaru ka?)
- "umagatta" <- past of "uma-garu" <- 3rd-person speculation from "umai" ("skillful, delicious"-- the second meaning starts to set up an extended pun)
- hen: neighborhood, vicinity
= "(Did he melt in your mouth?) | (Did he go into you as far as I just did?)"
[Not sure about the second line; the first one could probably be any sort of food-based double entendre, like "(Did you enjoy playing hide-the-sausage with him?)"]
Her:
= [oko]ranai'tte [i]ttaa-- | (nani yo sono kiki?)
- kiki: crisis
-- "You *said* you wouldn't get mad... | (Did that panic him?)"
margin note:
= ([ushina]tcho dake [saradai])
- "ushinatcho" <- "ushinate shimo" <- slurred from some form of "ushinate shimau" <- "[ushima]u" (lose, part with): "finally/unfortunately lost"
[The very last part of this line is a bit weird-- it looks like a single kanji, but as far as I can figure out, it's two of them stacked on top of each other, although the rest of the line was laid out horizontally: "sara" (dish, plate) + "-dai" (-sized, the same size as) -> "saradai" (serving size?)]
[If the order of those two kanji is reversed, a different word emerges: "ousara" (large dish).]
-- "(It's almost like someone else taking his food)"
+++
Him:
= sore-to KORE-to wa [hanashi]-ga [betsu] de-gozaru
[From Futaba-kun fan translation: "sore to kore to wa betsu no hanashi desu" -> "that or this different story is" -> "Well that's another matter entirely!"]
-- "This is *completely* different!"
[She must've said the margin note to him after all.]
Her:
= mou anmashi [omo]ete'nai 'tteba (dou [betsu]-na no yo--)
- "anmashi" <- further variation from "ammari" <- slight variant of "amari" (too much)
- "omoete'nai" <- neg. pres. prog from "omoeru" <- potential of "[omo]u" (think/feel)-- this particular kanji isn't one of the usual ways of writing this verb; no idea what subtle distinction that might make]
-- "Don't keep brooding about it, I'm telling you. (How different is it?)"
[More loosely, "Just forget about it, okay?!" might flow more smoothly into the next line.]
+++
This panel has dashed lines running out toward the two previous panels, which made me wonder if it was supposed to be read between them, but on closer inspection there are also some dashed lines on the other side, angling into the spine-- so the lines are probably just visual emphasis.
Him:
= sonna-[yume]-wo [mi]ru-no-wa [sessha]-no [ganba]ri-ga [ta]ranai sei de-gozaru na?
- "[ganba]ru": persist, withstand; the transliteration "gambaru" is also correct -> "ganbatte", a common encouragement
- [ta]ru: suffice
["sei" may be part of another elaborate pun; without kanji, there's no definite way to pick the right meaning from various homonyms with different meanings: "fault/blame" as mentioned before, "sexuality", or "height/stature".]
= that-kind-of-dream[O] having[noun][T] my tenacity[S] isn't-enough [sei] is[C] [P]
[To put the chunks in order, wrt "having that kind of dream", "my tenacity" "isn't enough" [sei], "is it"?]
[..."Do dreams like that mean that I don't have enough endurance for you?" "My patience isn't enough to ignore dreams like that"? And where *does* that bloody "sei" fit in, whichever one it is?]
[The more complex examples of sentence-final "sei da" at wot-club run along the lines of "Because of..." or "It's the fault of...", referring to the situation that was just described.]
-- "Sorry, but I'm not *quite* stoic enough to ignore dreams like that!" or "Sorry if I'm not stoic enough, but how am I supposed to forget about dreams like that?"
= (iza mou [ippatsu]!!)
["iza" is part of two stock phrases, "iza to naru to" (in a crisis) and "iza to iu toki" (in an emergency), but I can't find an independent definition for it by itself... evidently something along the lines of "danger/urgent/unprepared"?
- ippatsu: one round/shot/charge
[This might be something like "This dire situation requires one more round". I'm tempted to smudge it to "Open wide for dessert!", except for probable cultural inaccuracy; "You need another stiff drink-- bottoms up!" doesn't feel quite right either. Feh.]
She tries to hold him off (~gaba~, grab) as he rolls back up onto his hands and knees above her.
= iyaan (Oh nooooo)
endnote:
= (gochisou-sama)
- gochisou: good food, a feast
[This is the other half of "itadakimasu", in a way-- it's spoken at the end of a meal rather than the beginning. It can be used to thank the cook/host, but it can also simply signal that the speaker has finished eating.... can't quite think of a good double-entendre here that still sounds polite.]
-- "(Thank you for the juicy meat, but I'm all full now.)"
[See what I mean? :b ]
-- "(Thank you for graciously satisfying my appetite, but now I'm completely stuffed)"? etc.
[*headdesk* whamwhamwhamwhamwham ow.]
It also uses a mixture of fonts in the dialogue, including a swoopy script-like one which I find especially difficult to read. Usually the default font is an elegant compromise between legibility and scriptiness, with variable line width and vestigial "brushmarks" between the main strokes. This time, the main font is a rather stark constant-width sans-serif similar to Arial or Helvetica; the usual default also shows up occasionally, but the swoopy one has thick "brushmarks" that make it harder to figure out what the main strokes *are*. Also, my copy is unusually pale in some sections, which doesn't make deciphering the handwritten lines any easier. Grumble.
Standard (in)accuracy disclaimer: I have no idea what I'm doing, except for juggling a lot of reference books and web lookups. Please do not convert these into English-language scanslations or I will be cross, and there's a good chance they'd be wrong anyway.
Format key--
Frame/balloon order is from right to left and from top to bottom. The kana for "tsu" is sometimes used to indicate a glottal stop, as in a sudden gasp or an abrupt break in speech; in those cases, I'll transcribe it as "*" instead.
= raw romaji: [kanji], hiragana, KATAKANA, words-linked-inna-phrase, (handwritten marginalia), ~sound fx~
(Every so often, I splat down a comparison from wot-club's IY translations, which indicate kanji with CAPS instead of [brackets].)
- expanded transcription: grammatical contractions unpacked from the raw transcription if necessary (e.g., "inna" <- "in a") or other analysis
= raw gloss: [word function]*, literal-translation
*functional abbreviations: [T]opic, emphatic [S]ubject, [O]bject, unidentified [P]article, [C]opula, [Q]uestion, [H]onorific; [aX] (animate existence), [iX] (inanimate existence), ["] (quotation), [rQ] (rhetorical question), [mM] (emotional emphasis), [fM] (factual emphasis)
Narrative descriptions
[snarky notes]
-- "occasional coherent(ish) translations"
Pagination: #N#
Framebreaks: +++ (sometimes I leave these out if nothing much happens in each frame)
Balloonbreaks: | (if I compress several short balloons into the same line of text; otherwise, I just start a new line for each balloon. Usually. On the other hand, sometimes I use these to break up individual lines in a single longish balloon.)
No visible page numbers as printed, so I'm assigning the beginning of the story as page 1. There's also a one-page frontispiece that repeats the kanji for "Kamiya" up top and has "--KAMI NO TANI--" ("god(s) of the valley"?) in katakana along the bottom, though I don't know why. The only connection I can think of is very indirect-- while Sano adopted the name "Sagara" in honor of his beloved Captain Sagara, the rest of his family back home ended up with the name "Higashidani" ("eastern valley"; when written with two kanji, the second one would be pronounced "tani" on its own).
#1#
First panel: someone's fingers sloshing through Kaoru's labia. The fingers' owner isn't specifically identified until the next page, though the dialogue gives certain hints.
= [Kenshin] | [ome]-- [soutou] BUCHI-[ko]nda daroO
- "omee": sloppy pronunciation of "omae", a not particularly respectful pronoun for "you"
- "[soutou] suru": correspond, suit, become -> "[soutou]": suitability?
- "buchi": ripping/snapping noise? Ouch.
- "konda" <- past of "[ko]mu" (being packed/congested); "-[ko]mu" is sometimes a suffix for inward action
= [name] | you suitability tore-into must-be[C]
-- "Kenshin | ya sure did plow into her."
Kaoru:
= ya*...
-- "No, don't..."
~kui* | TORO | KOPU~
- "toro": syrupy liquid; "kopu": liquid pouring out
-- "spread | ooze | drip"
+++
The fingers swipe against Kaoru's face, painting it with juices (~nuru~: slather).
= sore-tomo... KORE [jou]-chan-no ka?
- "jou-chan": "young lady" or "little girl" plus diminutive suffix; I like to render this as "chicklet"
= or-else?... this chicklet's [Q]
-- "Or is *all* of this from the chicklet?"
Her:
= yaa... YAMETE... nee...
- "yamete" <- "yameru" ("stop doing", "abandon")
- "ne": agreement-shill rhetorical question along the lines of "...right?" or "...okay?"
-- "No... stop... please..."
+++
Full-body shot of Kaoru. She's sprawled on her back; Kenshin is restraining her from behind with both arms wrapping over her shoulders to hold her thighs open. The fingers have returned to their previous location and belong to someone else.
Her: (in the regular default font)
= [Kenshin]--* | konna-no yaa... yamete...
-- "Kenshin-- | I don't want this... stop it..."
Sound fx near the fingers:
~HIKUN | KUPU KUPU~
-"hikun": trembling
["kupukupu" occurs in numerous Japanese websites, but I have no idea what it means there. However, the fingers are certainly busy, either plunging in and out or "tickling" her from the inside.]
someone: (back to the sans-serif in three different balloons, which doesn't mean that all of them belong to the same person; one or two of the sound-effects may still belong to Kaoru despite the font change)
= aa* | haa | koko-wa sonna-ni [jou] 'gatte-nai ze
- "-gatte-nai" <- neg. present progressive of "-garu", an "apparently" or "might be" suffix for speculating about someone else's thoughts/emotions; usually attaches to a verb(like) stem rather than a noun, so here it might be clipped back off an implied "is" verb, though I can't find any examples of it actually being attached to forms of "iru", "aru", or "desu".
- "ze": particle for emphatic male declaration
= [panting x 2] | here[T] that-much chick doesn't-seem [X]
[Loosely borrowing from previous line and flipping grammar; also, wincing as usual at the hazy line between ritual false protests and actual non-consenting rape.]
-- "[still panting x 2] | Looks to me down here like ya want it, chickie."
Handwritten next to the last balloon:
= ([su]i-tsuite-kuraa SUGE--)
- "[su]u": suck, inhale
- "tsuite-kuraa" <-?? "tsuite kuru" (follow, accompany) <- "tsuku" (be attached/added), but no "kura" from "kuru". OTOH, judging from "sugee" (sloppy pron. of "sugoi"), "kuraa" might be similarly slurred from something like "kurai" (approximately).
[Several other "tsuku" verbs: "ignite" (intransitive), "arrive/sit", "start a job", or "prick/stab".]
[Alternately, "[su]i[tsu]ku" with the same initial kanji: "cling to" or possibly "suck out".]
= suctioning approximately great
-- "(Wow, she's practically sucking me in--)"
Very faintly, near Kenshin's right elbow: ~gugu~ (Kaoru grabbing his arm and trying to push it away)
#2#
Closeup of Kaoru's face: ~bikun~ (jolt!)
= aa*
+++
Closeup of someone's hand and trouser-snake: ~GUGU*~ (tugging it into fully active mode)
= saa [honban] da...
= [X] public-performance is[C]
-- "On with the show!"
+++
Finally, a wider-angle shot of the entire tableau. While Kenshin keeps hanging onto her from behind (the back of her head is against his chest, and one of his hands has moved from her thigh to the same side's breast), Sano is cheerfully plunging his way in.
Her:
= IYA* | iya* [hai]renaide--* | [Sanosuke]*!!
- "hairenaide" <- neg. command of "haireru" <- potential of "[hai]ru" (enter): "don't be able to enter"?
-- "No, don't-- | you can't enter me, you can't!-- | Sanosuke!!"
Sano:
= [ore]-no-wa [Kenshin]-no to-wa hito [aji] [chiga]u ze--*!
= mine[T] Kenshin's even-though person taste differs [X]
-- "Hey, but this'll be a change with someone else besides Kenshin--!"
#3#
Kaoru suddenly wakes up from her naughty nightmare(?).
= ha*
-- "Yeep!"
+++
Yahiko is still sound asleep on his own futon: ~kuka--*~ (sleepy breathing, not quite snoring)
And yes, she was sleeping alone on hers. Thought balloons:
= yu... [yume]... | [atashi] 'tta ka nante H-na [yume]-wo...
- 'tta <- itta? <- past of "iru" (animate existence)
- H: pronounced "ecchi" in Japanese; "H suru": "have sex", "H-na": "dirty/perverted"
= dream | I was[aX] [Q] how perverted dream[O]
-- "Just a dream... | Why was I having such a perverted dream?"
~kaa--*~ (blush)
+++
handwritten additional thought:
= (... chotto [o]shikatta kana-- to-ka [souzou]-shite)
- [o]shikatta <- past of verblike adjective "[o]shii" ("regrettable" or "precious"; its general theme seems to be something cherished that was lost?)
- "souzou suru": imagine
= small-amount was-regrettable I-wonder-- including/similar imagining
-- "(But was it really so bad to have a dream like that?)"
+++
She decides that yes, it was; she has a small fit at herself with two squiggly clouds of incoherent indignation and ~POKA | POKA~ (impact from smacking herself on the head)
marginal note:
= ([ji]te [kira-naka])
[I'm extremely uncertain of the pronunciation of all three of those kanji in this context. I also can't find a definition for the two-kanji compound at the end, although it occurs in documents that have to do with Japanese war reparations to China for WWII. The first one has several different possible pronunciations, but generally means "self"; the meanings of the other two are respectively "hate/dislike" and "middle/inside".]
-- "(full of self-loathing)"???
+++
Struck by another thought, she rummages around inside her futon: ~goso~
#4#
And discovers that she's lubed up and ready to go: ~nuru...~ (slather)
+++
= (YATA... [nure]rete'ru...)
- "yata": probably from "yatta" <- past of "yaru", a brusque verb for "do"; normally "yatta" is self-congratulatory ("Yay, I did it!") but it certainly doesn't look that way here.
- "nurerete'ru" <- "nurerete iru" <- pres. progr. of "nurereru" <- clipped version of "nururareru" <- potential of "[nure]ru" ("drench", instransitive): "can continue to self-drench"
[The clipping takes place via something Senko Maynard calls "ra"-deletion; it takes place in verbs' potential forms and can be useful for telling them apart from the (sometimes otherwise identical) passive forms. She also notes the corresponding phenom of "sa"-insertion, in which that syllable is stuffed into a verb's causative form if it isn't already there ("nuresaseru" would remain the same, but "ikuseru" ("causes to go") would become "ikusaseru", apparently on the principle that the longer a verb is, the more polite it sounds.]
= did... can-keep-self-drenching...
-- "(Drat... I'm still staying aroused...)"
She considers her options for a moment (~kyun~: normally "grab", but here probably the sound of her biting her nails), then sits up and pulls a darker extra robe around her shoulders (~SU*~, cloth rustling). Yahiko is still asleep (~kuka--~).\
Fashion note: I'm not sure where the robe came from; it wasn't spread out over the covers like an extra blanket, she wasn't wearing it when she woke up, and I'm not sure if she moved from her futon far enough to reach a shelf or whatnot.
+++
She closes their room's door-screen behind her as she leaves (~TAN~: prob. variant of "ton", something softly closing ("click"?)) and walks down the hallway, still clutching her rustling extra robe around her (~su...~) until she's kneeling next to Kenshin's pillow as he sleeps.
Handwritten thought:
= ([raisuki] 'chatta...)
- "raisuki": I had a hell of a time trying to figure this one out, and I'm still not certain I've got it right. But I *think* this kanji-like character is actually a seldom-used radical that isn't normally used as an individual word in Japanese (though in Mandarin it's pronounced "lei" and means "plow handle"); all radicals have a descriptive name, and this one seems to be "raisuki": "a tree with three branches". This may have a connection to the three-way in Kaoru's dream, though I can't find any examples online of the name being used that way. However, that fits with her blush in this panel, which wouldn't make sense in terms of what I originally expected this to mean, something along the lines of "He's sleeping so soundly, it's a shame to wake him up" etc.
[As a possible pun, my main online kanji database lists "come" as another meaning for that radical, but I have no idea in what sense-- verb? noun? literal? idiomatic?]
- 'chatta: presumably truncated from "ite shimatta" ("it was finally/unfortunately in existence"?)
-- "(That three-way boinking was scary)"
Much later note (31 Mar 2008): apparently another name for the "raisuki" radical is "suki-hen" (left-handed plow), which may be the intended reading and the setup for a multilayered pun-- I'm not sure whether normal Japanese usage really allows a synonymous reading of that phrase as "perverted love", or "plow" as a metaphor for sex (as I'd coincidentally demonstrated in English during the opening scene), but the first kanji in Sanosuke's name definitely means "the left-handed direction" or "the left side" etc.
+++
Thought balloon:
= yappari [o]kosu-no yo sou
[Normally, this kanji can produce two different verbs that both mean "awaken": "[o]kiru" (intransitive) and "[oko]su" (transitive). Yamaguchi seems to've intended the latter but stuck in a redundant "ko" kana.]
= as-expected waking[noun] [X] that-way
-- "I thought so-- I'll have to wake him up. This way..."
#5#
She smooches him, still thinking to herself.
= demo | chotto dake... ne...
= but | small-amount only [rQ]
-- "But... | warm him up slowly, right...?"
+++
~chu...~ (smooch)
He blinks his eyes open, still barely awake.
#6#
The first moan here (~N...~) is probably hers, since it's louder (or at least in katakana) and she's already several steps ahead of him; he probably has the softer moan (~n--~) in the next panel. But back to the dialogue as he starts to sit up.
Him:
= [o]kite'ta no?
[The intransitive "[o]kiru" this time.]
-- "Did you wake up by yourself?"
Her:
= [ima]... ne...
-- "Yeah... just now..."
The heavy breathing starts up ("han*") as the moans continue and the kissing intensifies (~kuchu~); I'll probably ignore most of those sound effects this time.
#7#
Kaoru's outer robe slides off her shoulders (~PASA*~, "plomf") as she wraps her arms around his neck to pull him into sitting the rest of the way up (~zuku~, "hup!"). He starts to open up her main sleepwear (~kuku*~, which is a bit odd here-- the motion doesn't seem emphatic enough to be definite "yanking", so it may just indicate that he's still half-asleep: "fumble"?) and then attempts to tune her nipples to his favorite radio station (~kuni | kuni~, "tweak tweak").
#8#
He slides a hand up her leg to goose her (~tsu~?) and she gasps in aroused surprise ("a*").
Him:
= sugoi... | mou... konna-ni
-- "Wow... | you're already this slippery..."
Her: ~bikun | nuru~ (jolt, slather)
= gomen-nasai...
-- "Eek, sorry about that..."
+++
Him:
= ? doushite [ayama]ru n'de-gozaru?
[Also, I'm going to ignore his usage of "de gozaru".]
-- "Hm? But why are you apologizing?"
Her:
= (sono...) dakara... | ...shitakatta mitai... (na no...)
[The two verbs don't seem to be directly linked to each other; the "try and see what happens" suffix mode of "miru" follows the "-te" form of another verb, which "shitakatta" isn't, although it might carry over into an understood "shite" between them. The particles at the end are more space-fillers than really functional, I think.]
-- "That's because... | ...I wanted to do... I want to try... (um, well...)"
Affectionately, he glomps her face against his chest: ~gyu--*~
#9#
She smooches him there and sucks on one of his nipples (~chu | churu | chuu~, "smooch | smoochy | slurp"), making him gasp ("--ah!"). Then she demonstrates her own battoujutsu on him (~kyuu...~, "pull") and dives down into his lap, giving him a pleasant jolt of surprise (~bikun~) as he moans her name ("Ka-o-ru", in individual kana).
#10#
Unsurprisingly, he continues to moan while she gives him a tongue-bath (~pechu pechu~, "slurp lick"); I can't identify the katakana(?) sound effect over her knuckles in the third panel (~SHIRO~?) but would guess that she's also moving her hand up and down, at least until another display of Kamiya Kasshin sword-swallowing technique (~jupu jupu~, "glmph shlurp"?). Then she partially sheathes his sakabatou in her bare cleavage and asks him a silly question.
= [Kenshin]... | [kan]jiru?
-- "Kenshin... | how does this feel?"
Him: (with remarkably wobbly balloon outlines; normally, he gets to be the calm one)
= [kan]jinai WAKEnai de-gozaru
- "wakenai" <- neg. of "wakeru" (share?), or "wake" (reason, circumstance) + "nai" (neg. iX)? AnimeLab also has two different entries for "wakenai" (based on the "reason" kanji, not the "share" one) as a modifier that means "eas(il)y" or "smooth(ly)", via "without reason"???? (without special conditions?)
[Foo. "It doesn't feel pointless"? "It doesn't feel smooth" <- converse of "It feels rough"? He looks overwhelmed at the moment, so it's not as if he isn't enjoying it; also, her mouth and breasts shouldn't be covered with sandpaper. "It doesn't feel reasonable"?]
[Semi-making stuff up.]
-- "It feels... like I'm losing my mind."(???)
#11#
Her: "ja..." ("Let's see what this does" or "Let's try this now"?)
Still feeling experimental, she caresses his testicles (~kuni~) and then slides one finger up into him for a prostate massage (~ppu~?). While she continues to knead him up front with her other hand (~kuchu kuchu~, slurpy suction almost like kissing), she wiggles that finger around (~gugu~). He looks even more overwhelmed, so she asks him more silly questions.
= koko mo?
-- "Here too?"
Him:
= motto... yukkuri...
= more slowly
-- "Slow... down..."
Her:
= kou? | nee dotchi-no [kata]-ga [kan]jiru-no?
- "dotchi" <- "dochira": "which one of two choices"
-- "This way? | So, which hand feels better to you?"
She licks his ear, too (~pichu~). He manages to choke out a silly answer.
= ka-o-ru | dotchi-mo... [kan]jiru yo
-- "Ka-o-ru | both of them... feel great..."
#12#
She decides it's her turn now, and tucks aside the hem of her robe (~SU...~) as her heartbeat pounds all over the place (~DOKI DOKI DOKI~). She keeps semi-teasing him while she lines him up and sloooowly lowers herself onto him with much ~nunu nu~ seepage.
= sore ja... ne... | koko mo? | hora
-- "In that case... | how about here? | Look--"
He clutches her waist, perhaps in an attempt to speed up the ~nuru nuru~ slithery wiggling.
= [Kaoru]... [dono] jirasa... naide...
- "jirasanaide" <-? "shirasanaide"? if he's barely able to speak clearly anymore, but what's the root verb? "shiraseru" is the causative form of "suru" (do); the negative imperative would be "shirasenaide", but if he's mangling one syllable, he can probably flub two while he's at it.
["Don't make me do this"? "Don't cause this to happen"?]
-- "Kaoru... d-don't... do this to mee..."
She partially hushes him with one hand over his mouth. Not the same hand that was up his butt.
= [ho]shii no?
-- "Is that what you want?"
#13#
He tugs at her hand, roughly brushing it against his mouth (~KIRI~ is usually "scrape", but on the other hand could also mark urgency ("Oh God please NOW")).
= [ho]shii yo
-- "Damn straight, woman."
He grabs onto her thighs (~kyun~), pulls her all the way down (~nupu*~), and shakes her back and forth like a James Bond martini (~ZUPU ZUPU~). Her breathing speeds up (~haa... | fu*~).
= aa | sugoi...
-- "Oh-- | that's amazing..."
#14#
Now he gets to begin his revenge. Bwahahah. He shifts the motion to up and down (still ~zupu zupu~) and starts to ask her silly questions too.
= kou?
-- "How about this way?"
Her:
= un | ii yo* | SUGOKU [kimo]chi ii
-- "Yeah | that's good | such amazing sensations."
She leans backward; the ~gui gui~ grabby sounds may be from her, clutching behind her for support, since I don't see Kenshin's hands in this panel. However, the motion lines suggest that her hips are now tilting around and around.
= yan | [nemoto]-made [hai]tte'ru [oku]-ni... [a]tatte'te... [kan]jichau...
- "haitte'ru" <- "haitte iru" <- pres. prog. of "[hai]ru" (enter, fit inside)
- "atatte'te" <- "atatte ite" <- "atatte iru" <- "[a]taru" (hit, strike)
- "kanjichau" <- "kanjite shimau" <- regret/finality from "[kan]jiru"
= [?] | until-base/root is-filling-up into-depths... continues-striking... finally-feels...
-- "Ooh | you're filling me up so much... pounding deep inside me... I'm about to..."
She does; ~bururu~ is her head whipping back and forth as she does her shrieky moan thing.
#15#
He's still holding onto her hips; ~petan~ might be his grip firmly anchoring her, or it might also be her weight semi-collapsing back down. Her whole body slumps forward onto him. He grins.
= doushita? [tsuka]reta?
- "[tsuka]reru": get tired
-- "What's wrong? Did you get exhausted?" (or "Are you tired out?")
Her:
= ...datte sono-mama-de to Itchai sou nanda-mon'...
- "itchai" <- "itte shimai" <- participle? of "itte shimau" <- regret/completion of "iku" ("go", or idiomatically "come" in orgasm)
- "mon" <- "mono" (thing, stuff)
= however/because from-present-condition and just-came[noun?] that-way that's-the-thing
[very very loose semi-guesswork, since I can't fit the pieces together]
-- "Give me a few minutes to recover-- I just came, you know?"
+++
Him:
= doushite GAMAN-suru no?
- "gaman": willpower, self-control; "gaman suru": tolerate, withstand
[I assume this line is his because of the nice smooth balloon outline, though she could possibly be asking him, "Why are you still holding back?"; I can't quite get this to feel consistent with the next line, though.]
-- "Recover? Why?"
Her:
= IYAN [issho]-ni IKU-noo*
[This line seems as if it should work out to "No, we always come at the same time" or "No, aren't you going to come too?", but her face seems a bit distressed/worried... she doesn't seem to be seductively inviting him right now, so maybe it's just an apprehensive factual statement.]
-- "Well, usually we come at the same time, so... oh no--"
+++
He licks her ear.
= [kawai]i koto-wo [i]u
-- "It's so cute when you say that."
marginal note:
= ([ona]ji [waza]-wa WAZA-to?)
- waza: task/skill; "onaji waza": same technique; "waza to": on purpose, deliberate(ly)
-- "(deliberately copying her)"
Aha-- compare that panel to the one at the bottom of page... #10, I think... when she licked his ear in the middle of torturing him; he's still taunting her, and now giving her a warning that it's his turn to torture her with extreme arousal. He pulls out (~zuru*~) and turns her around (~kururi~) so she's facing away from him. She's startled, but doesn't have time to finish asking what's going on.
= na*
-- "What are you--"
#16#
He redocks (~zupu*~) and pulls her hips all the way down into his lap. She protests.
= ya* | dameee* | [hai]tchau* | ya
- "haitchau" <- "haitte shimau" <- "[hai]ru"
-- "No, please don't-- ack, you're already inside me again?"
To keep her from shoving away, he grabs both of her arms behind her back (~ba~) and mocks her by repeating "DA-- ME" (not very nice of him: "'Please don't.' Hmph." or whatever phrase seems equivalent to the more direct translation "useless/forbidden").
+++
They're in a slightly different position now: her arms are still behind her back, but instead of directly holding them, he's pinning them between their bodies by wrapping one arm around her for a breast-squeeze (~muni~) and using his other hand to trackball her clitoris (seen in closeup in the first panel of the next page; for now, there's only the ~kui kui~ squeezing/pressing noise). She continues to protest despite the premonition of another orgasm (~bikun | bikun~).
= a* dame* dame* | soko-wa ijitcha yaa
- "ijitcha" <- "ijite shima"? <- "ijiru" (handle carelessly), but there doesn't seem to be an exact form "shima" from "shimau"... slurred from a slightly different phrase, the same way Kenshin couldn't talk straight earlier?
-- "Hey, stop playing with me down there!"
Him: DOKO?
-- "Where?"
#17#
The former ~kui~ noises have turned squishier, into ~kunyu kunyu~. She starts panting really heavily (~HAA | HAA~) but still manages to get some words out:
= dame* mou... i... IKUu
-- "Don't, or I... I'm almost coming..."
Helpfully, he says "Itte ii yo" (~"Good-- go ahead" or "You're coming again? Great!") as if she actually needed his permission/commentary. As she takes off, he hangs onto her with a firm grip down there (~kyu~) and a quiet grunt of his own (~n*~). There's another ~BIKUN~ in front of his face as he murmurs into the back of her neck, but it could either be one of her aftershocks or his own reaction.
= sugoi... [o]shi[da]sare sou (shimaru)
- "oshidasare" <- <- "[o]shi[da]su" (squeeze out) <- "[o]su" (push) + "[da]su" (emit, release)
[Gr. I've having what seems to be an inordinate amount of difficulty pinpointing how "oshidasare" develops. The passive form would be "[o]shi[da]sareru"; the potential form would be "[o]shi[da]seru"; neither of those qualify for the slang mutations cited from Maynard. The passive form seems the most likely route, but I don't know what would strip it down to the bare stem-- hmmm, this is much easier to work with if I ignore the prefix and just concentrate on the "[da]su" part.]
- "dasare" <- participle of "dasareru" <- passive of "[da]su"
[...so the passive participle of "[o]shi[da]sareru" would mean "being squeezed out". 'Kay, fine.]
- "shimaru": two different verb candidates; one means "close/shut" and the other means "tighten, harden". Mmm.
-- "That feels great... being squeezed by you like that (it makes me even harder)."
Blinka.
Diction note: as if it needed additional features beyond the three-way dream scenario and the prostate massage, this doujinshi's dialogue is *much* more descriptively explicit than Yamaguchirow's usual standard. Or at least the standard of my translation victims up to now-- from what I remember of them at the moment, most of the dialogue during the actual sex is limited to Kaoru's ritual protests ("Oh no, I'm begging you, *please* don't give me *another* orgasm!!!") and Kenshin's reassurances that everything will work out fine. The main actual description that comes to mind is Kenshin occasionally announcing that his spooge is on its way out, and even that's just a few gasped verbs rather than detailed statments.
#18#
He's still kneading one of her breasts (~monya~ mammary grope), and there's also some ~HIKU | HIKU~ down by their butts (their bodies trembling, or maybe just hers for now). She slumps back against him with a ~kuta~ "flop" beside her head).
= Kenshin no | BAKAA...
-- "Kenshin... | you twit..."
Him:
= [daijoubu]? | jaa | [issho]-ni Ikou
-- "Are you all right? | Okay then-- | let's have some synchronized orgasms."
He dumps her down onto her hands and knees, pushing her shoulders down (~gui*~). I think that's her saying "e" at the bottom of the third panel: a woozy "Huh? What's going on now?", or an dazed "Okay, yeah" while she's still out of it?
If it is agreement, it doesn't last, once he resumes thrusting into her again with large, ominous ~ZU ZU~ pounding.
= ya*... dame* mada | [dou] icha iyaa*! | i*... | DAMEEEE
- "dou": motion; with a different pronunciation, the same kanji can also be used in two complementary verbs that both mean "move/change": "[ugo]ku" (transitive/active) and "[ugo]kasu" (intransitive/passive).
- "icha" <- "ite shima"
[Indulging in lots of interpolation here.]
-- "Hey... not yet! | This motion is going to make me come again! | No, don't | I-- I'm going to..."
Annoyed moment: finally spotted some pre-printed page numbers; as usual when I see them in Yamaguchirow, they're tucked into the bottom inside corner, making them almost invisible unless the pages are opened wide enough to (imho) endanger the structural integrity of the doujinshi's spine. Since I'm already this far into my own pagination count, I'll just add the original numbers in parentheses after those.
#19# (23)
With a futile little ~ba*~ (whap), she tries to break his grip on her butt (he's pulling it back and forth to supplement his own motion, resulting in ~junyu* junyu*~ (juicy churning).
= kenshin* | yaa | [to]mete*
-- "Ken... shin | no | stop it--"
Him:
= doushite? | [ita]i?
-- "Why? | Does it hurt?"
+++
Her:
= chiga*... | [kan]ji... sugichau... mo... u | dakara... o[negai]
- "chiga" <- "chigau" (differ, be incorrect)
- "kanjisugichau" <- "kanjisugite shimau" <- completion/regret of "kanjisugiru" <- "[kan]jiru" (feel) + "sugiru" (surpass, elapse): "unfortunately/finally feel too much"
-- "N-- not exactly | but it already... feels... too strong | so... please..."
+++
= mou [yuru]shite | atashi... atashi*
- "[yuru]su": allow, forgive
-- "I don't want any more | I... I--"
Him:
= nanda | yokatta
- yokatta <- past of irreg. verblike adj. "ii/yoi": literally, "that was good" but id'ly "that's a relief" or "I'm so glad" etc.
["nan da" is just a statement ~"so that's what it is" or "that's it"; picking up context from his earlier question.]
-- "So it doesn't hurt? | That's good."
#20# (24)
Holy crap, he's in the middle of turning her sideways by hoisting one of her legs up over his shoulder, spreadeagling her waaay open: ~GISSHI~ (creak)
Her:
= yokunaiiii*!! | (iyaaaan)
-- "It is *not* good!! | (aieeee!)"
[the second line is handwritten next to her hair)
+++
Him: yokunai? ("It isn't?")
Her: dakara ("No, because--")
He smooches her (~kuchu~) to cover up her mouth, but it only works for one panel. By the next one, Kenshin has finished flipping her onto her back and she's talking again:
= [yo]sugiru N'da*... 'tteba*
- 'tteba <- "to itteba" <- technically, the logical-outcome condition of "to iu" ("and" + "say), but since "to iu" is usually condensed down to 'tte as a quotation marker ("I told you..."), 'tteba is often just a more emphatic version ("How many times do I have to tell you...?"
-- "It feels *too* good... I already said so--"
#21# (25)
Big ~JU JU~ juicy sounds again as she calls his name, first in kanji and then in hiragana:
= [Kenshin]! | Kenshin...
He's starting to lose it too; sweatdrops are falling off his face (~PODA~): "Nani?" (What?)
Her:
= mata... [ku]ru* [ku]ru noo*
-- "I-- I'm about to come again, I'm coming--"
+++
Oh boy, is she ever.
= [tsu]ite motto [fuka]ku
- "[tsu]ku": thrust; "[fuka]i": deep/intense
-- "Give it to me hard and deep!"
He obliges, forcefully ramming/grinding ~GITCHI GITCHI~ while she wraps her arms and legs around him.
= ii yo* | FUU | Kaoru
-- "Okay-- | [deep panting breath] | Ka..oru"
Her: ii* ("So good")
Him(?): [kan]jite ("I feel like I--")
#22# (26)
The impact sounds on the far right of the first panel aren't exactly ~DON DON DON~ hammering-- there are some extra katakana in the middle-- but they're probably close enough. She definitely has ~HAA HAA~ harsh panting around her face, though.
Their big finish is plastered with enormous ~DOKUN DOKUN~ pounding heartbeats. Kenshin has a discreet little "ah--" choked gasp, nearly invisible compared to Kaoru's loud wailing. (I wonder if Yahiko is stil asleep back there.)
#23# (27)
He collapses beside her with a ~kuta~ exhausted flop. There are a few short lines which could belong to either of them.
= haa (SAIKO--) | [mizu]u... | su... sugohi...
- saikou: maximum, best
- sugohi: blurred pronunciation of "sugoi" (amazing)
-- "(wheeze) That was the best ever... | W-- water!... | 'Zat was great..."
Comment next to the cup:
= ("Kenshin]-ga [ku]nde-kita [mizu]...)
- "kunde" <- "[ku]mu" (draw water)
-- "(Kenshin was the one who brought back some water...)
+++
Her: (annoyed again)
= yamete 'tte [i]tta no-ni hidoi!
-- "Even though I told you to stop-- that was terrible of you!"
["hidoi" isn't actually in the past tense here, so "-- you're a terrible person!" might be more accurate.]
Him:
= sono wari-ni wa [kan]jite'ta KUSE-ni
- "wari": proportion? -> "wari ni": relatively
- "kuse ni": "even though" or "despite", with an overtone of disapproval at an inappropriate/abnormal condition
= (that proportion)[T] was-feeling despite?
[A fan translation of a "Sailor Moon" lyric reads "Sono wari ni wa yoku neteiru wa ne" as "You sure sleep a lot given what you've just said", presumably via "that-proportion[T] is-sleeping-well[T] {rQ]"...?
-- "Even though it was feeling really good for you?"
~KONN~ (next to his speech balloon, but with an arrow pointing to her)
["konkon" could be the sound of continuous quiet coughing, or a light "bap" similar to a pebble hitting the floor; if this were Megumi, it might also qualify as the sound a fox makes. The main explanation that's occuring to me is that it's their foreheads quietly bapping against each other as he turns to face her.]
Her: ~bu--*~ (Hmph!)
= shou-ga-nai ja-nai!! [atashi]-no sei ja nai wa yo
- "shou ga nai" <- "shikata ga nai", lit'ly "that method doesn't exist" but more loosely "Oh well, that's how things are, there's nothing anyone can do about it" etc.
- "sei": cause for blame?
-- "As if you couldn't help it! It's not *my* fault!"
+++
Him: ~nita~ (evil grin)
in margin:
= ((ya) o-[ki]-ni-[i]i)
[The initial "ya" is set off by a small circle, maybe to mark this as a note from Yamaguchi rather than something from one of them.]
- "[ki] ni [i]ru": be pleasing or suddenly attractive
-- "((Ya): he loves to hear that)" or possibly "(he turns on the charm)"?
Her:
= SUKEBA [wara]i-wa YAMEnasai'ru*!
- "sukeba" <- variant of "sukebe"? ~"lewd, perverted, oversexed"; it seems to be used a lot in IY to describe Miroku.
[Or at least I *think* that kanji is from "[waru]i" (smile, laughter); the scripty font makes it nearly impossible for me to be certain, but that's the most likely candidate that popped up from searching through anything that looked vaguely similar to the damn squiggle.]
-- "Stop laughing, you pervert!"
+++
Him:
= demo | konna [yofu]ke-ni [kon'ya]-wa doushita n'de-gozaru ka?
[Interpolating some stuff]
-- "Anyway. | What made you come over here like this in the middle of the night?"
Her: ~giku~ (surprise, "twitch"?)
#24# (28)
She rolls away from him, embarrassed.
= [oko]ranai?
- [oko]ru: get angry
-- "You won't get mad?"
Him:
= ? un nani?
-- "? No... what was it?"
+++
He kisses her shoulder (~chu~) as she starts to tell him.
= SUGO--KU | H-na [yume]-wo [mi]chatta-no
- "michatta" <- "[mi]te shimatta"; the idiom for dreaming is "yume wo miru" (see a dream) instead of the English "have a dream".
[Not quite sure whether this "sugoku" is "Great, I'm relieved that you won't get mad" or part of the next line, modifying "H-na"; might as well combine them both.]
-- "(phew) Well... | I had a really naughty dream."
Him: donna ("What kind of dream?" or mose loosely "What was the dream about?")
+++
Her:
= sore-ga | [Kenshin]-to [Sanosuke]-to 3P shite'ru [yume]
- 3P: pronounced "san-pi"? the nickname for menage a trois
-- "In this dream... | both you and Sanosuke were having a threesome with me."
+++
Him:
= [Sano]-to wa toko made yatta?!
- "toko made" <- "tokoro made": lit'ly "until the place", idm'ly "as far as possible"
- "yatta" <- past of "yaru", brusque/rude verb for "do"
-- "You were going all the way with Sano too?!"
= ([Sano]-wa umagatta n'de-gozaru ka?) | (dono [hen] made [hai]reta n'gozaru ka?)
- "umagatta" <- past of "uma-garu" <- 3rd-person speculation from "umai" ("skillful, delicious"-- the second meaning starts to set up an extended pun)
- hen: neighborhood, vicinity
= "(Did he melt in your mouth?) | (Did he go into you as far as I just did?)"
[Not sure about the second line; the first one could probably be any sort of food-based double entendre, like "(Did you enjoy playing hide-the-sausage with him?)"]
Her:
= [oko]ranai'tte [i]ttaa-- | (nani yo sono kiki?)
- kiki: crisis
-- "You *said* you wouldn't get mad... | (Did that panic him?)"
margin note:
= ([ushina]tcho dake [saradai])
- "ushinatcho" <- "ushinate shimo" <- slurred from some form of "ushinate shimau" <- "[ushima]u" (lose, part with): "finally/unfortunately lost"
[The very last part of this line is a bit weird-- it looks like a single kanji, but as far as I can figure out, it's two of them stacked on top of each other, although the rest of the line was laid out horizontally: "sara" (dish, plate) + "-dai" (-sized, the same size as) -> "saradai" (serving size?)]
[If the order of those two kanji is reversed, a different word emerges: "ousara" (large dish).]
-- "(It's almost like someone else taking his food)"
+++
Him:
= sore-to KORE-to wa [hanashi]-ga [betsu] de-gozaru
[From Futaba-kun fan translation: "sore to kore to wa betsu no hanashi desu" -> "that or this
-- "This is *completely* different!"
[She must've said the margin note to him after all.]
Her:
= mou anmashi [omo]ete'nai 'tteba (dou [betsu]-na no yo--)
- "anmashi" <- further variation from "ammari" <- slight variant of "amari" (too much)
- "omoete'nai" <- neg. pres. prog from "omoeru" <- potential of "[omo]u" (think/feel)-- this particular kanji isn't one of the usual ways of writing this verb; no idea what subtle distinction that might make]
-- "Don't keep brooding about it, I'm telling you. (How different is it?)"
[More loosely, "Just forget about it, okay?!" might flow more smoothly into the next line.]
+++
This panel has dashed lines running out toward the two previous panels, which made me wonder if it was supposed to be read between them, but on closer inspection there are also some dashed lines on the other side, angling into the spine-- so the lines are probably just visual emphasis.
Him:
= sonna-[yume]-wo [mi]ru-no-wa [sessha]-no [ganba]ri-ga [ta]ranai sei de-gozaru na?
- "[ganba]ru": persist, withstand; the transliteration "gambaru" is also correct -> "ganbatte", a common encouragement
- [ta]ru: suffice
["sei" may be part of another elaborate pun; without kanji, there's no definite way to pick the right meaning from various homonyms with different meanings: "fault/blame" as mentioned before, "sexuality", or "height/stature".]
= that-kind-of-dream[O] having[noun][T] my tenacity[S] isn't-enough [sei] is[C] [P]
[To put the chunks in order, wrt "having that kind of dream", "my tenacity" "isn't enough" [sei], "is it"?]
[..."Do dreams like that mean that I don't have enough endurance for you?" "My patience isn't enough to ignore dreams like that"? And where *does* that bloody "sei" fit in, whichever one it is?]
[The more complex examples of sentence-final "sei da" at wot-club run along the lines of "Because of..." or "It's the fault of...", referring to the situation that was just described.]
-- "Sorry, but I'm not *quite* stoic enough to ignore dreams like that!" or "Sorry if I'm not stoic enough, but how am I supposed to forget about dreams like that?"
= (iza mou [ippatsu]!!)
["iza" is part of two stock phrases, "iza to naru to" (in a crisis) and "iza to iu toki" (in an emergency), but I can't find an independent definition for it by itself... evidently something along the lines of "danger/urgent/unprepared"?
- ippatsu: one round/shot/charge
[This might be something like "This dire situation requires one more round". I'm tempted to smudge it to "Open wide for dessert!", except for probable cultural inaccuracy; "You need another stiff drink-- bottoms up!" doesn't feel quite right either. Feh.]
She tries to hold him off (~gaba~, grab) as he rolls back up onto his hands and knees above her.
= iyaan (Oh nooooo)
endnote:
= (gochisou-sama)
- gochisou: good food, a feast
[This is the other half of "itadakimasu", in a way-- it's spoken at the end of a meal rather than the beginning. It can be used to thank the cook/host, but it can also simply signal that the speaker has finished eating.... can't quite think of a good double-entendre here that still sounds polite.]
-- "(Thank you for the juicy meat, but I'm all full now.)"
[See what I mean? :b ]
-- "(Thank you for graciously satisfying my appetite, but now I'm completely stuffed)"? etc.
[*headdesk* whamwhamwhamwhamwham ow.]
no subject
on 2006-09-13 07:01 pm (UTC)You are pretty brave, wombat-san!
It's possible to see "Himura" the next? ^_^
...can't wait the next update already :)
no subject
on 2006-09-13 11:33 pm (UTC)I do have "Himura", but all that shibari (Japanese rope bondage) makes me nervous somehow-- partly in its own right (it looks terribly uncomfortable, though I think supposedly it isn't if it's done properly), and partly because I might end up geeking about it all over the web. A few years ago, I saw a book that was *completely devoted* to the subject; iirc, each tying pattern has its own name, proper order of knots, and so on.
Anyway, back to work on this one....
no subject
on 2006-09-14 06:29 am (UTC)After Himura I had some nightmares. Not like Kaoru's though ^_^
no subject
on 2006-09-15 09:24 pm (UTC)...and I like your comments. Very much :)
no subject
on 2006-09-16 05:14 am (UTC)Mmhhh, Bondage, sincerely I don`t mind it, but when I saw one in Mousou Kyouga Ho by Yamaguchi made me think "Is THAT even possible?!" O.O;
no subject
on 2006-09-23 05:53 pm (UTC)no subject
on 2006-09-24 12:25 am (UTC)no subject
on 2006-09-18 02:32 pm (UTC)no subject
on 2006-09-25 02:50 pm (UTC)http://www.stasy.net/CCinit.php?id=files_6_304
BTW, I've downloaded "Mousou Kyouga Ho" from our precious Lemon Scented Rurouni Kenshin ^_^ - check it. I also can re-send you zip-file, if you wish.
no subject
on 2006-09-25 08:34 pm (UTC)...well hey, I think I've seen the "Mousou Kyouga Ho" sketches scattered through several different individual doujinshi; let's see... well, that makes sense; they're simply arranged in publication order, based on the usual checklist (http://doujinshi.kuroi-hoshi.org/rkyg.html). Now that I've gone ahead and tracked all of them down, though--
01: Battou
02: Kamiya
03: Himura
04: Meiji Chanbara Porno
05: Jinchuu
06: Shinsei
07: Scarred Over
08: Setsuen
09: Aitou XX
10: Kaorusyo
11: Saikai
12: Kyouken 1
13: Kyouken 2
14: Kyouken 3
15: Kyouken 4
16: Kyouken 5-1
17: probably Kyouken 5-2
18: Kuusou Gendai
"Sakuragari" is still missing from the sequence, but then that entire doujin was a sketchbook. A few of the others that seem to be missing from the list, like "Souzaiya" and "Haran", didn't have bonus sketches in the first place.
As an intertextual note, the main reason I was confused for so long in "Kuusou Gendai" about whether Kenshin really had a sword or not was because I remembered the image from 04_2, where he and Kaoru are wearing approximately the same clothing but his sword is definitely attached to his belt, causing the scabbard to obviously stick out from the side.
no subject
on 2006-09-25 11:24 pm (UTC)"Hurrah, now Kaoru's dreams can traumatize other people in many different languages ^_^;"
Amen to that! XD
Where I can find good quality films online
on 2007-11-09 10:53 pm (UTC)Can anyone help me?