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GIVE IT UP FOR DAY FIVE

...AND NOW...

...THE CHEETAHMEN



Relax...

Catalog

 No.863[View All]

Alright, it is Wednesday and I am gonna post the first volume of Rin-ne. Feel free to react or comment on any panel, though I appreciate if image replies are not used during the dump. Feel free to discuss anything related to Rin-ne after the dump.

Rin-ne is Rumiko Takahashi's return to comedy after Inuyasha. Rin-ne is VIZ's localized title, presumably chosen to assist in pronunciation. The original title is 境界のRINNE (Kyokai/Kyoukai no Rinne) which means Rinne of the Boundary. While it is not a megahit like some of her other huge series, I highly recommend it to fans of Ranma 1/2 and Urusei Yatsura though it is obviously different.

I will be using scans of the official VIZ localization. Be aware that some of the larger images may have been edited to be lower quality due to image size limits.

In addition, I will be dumping the one short story by Rumiko Takahashi and Mitsuru Ikegami that came out around this time called "My Sweet Sunday". Today, the scans I have of the one shot are the official VIZ ones.
169 posts and 156 image replies omitted. Click reply to view.

 No.1037

>>1036
No money in it.

 No.1038

>>1037
Brush your teeth.

 No.1039

>>1038
I got VIZ's cultural note here:

"An ochimusha is a soldier or warrior who has been defeated and has fled from battle."

The depiction of one of them as an undead being covered in arrows is common. They usually have a dissolved chonmage or topknot, but it seems this one kept his.

 No.1040

>>1039
Another cultural note from VIZ:

"The ochimusha calls Kaori hime, which means "princess." Here's the kanji character for hime 姫. Kaori's family name is Himekawa, written like this 姫川. The Japanese word for "princess" and the first character in Kaori's family name are the same. The second character in Kaori's family name is kawa, "river.""

They mention her first name before the page that does it, but that's fine.

 No.1042

>>1040
Oh hey, "senpai". I don't feel like explaining senpai, but it basically means upper-classman or senior.

 No.1043

>>1042
He has no refrigerator, right…

 No.1044


 No.1045

>>1044
About ten bucks, yeah.

 No.1046

>>1045
I have a cultural note here from VIZ again. Also, I love this page.

"Kaori Himekawa drinks something to keep herself awake. The label reads "MEGA Sameru". But read another way, it's me ga sameru 目が覚める which means "wake up". Japanese wake-up drinks often contain several times as much caffeine as a cup of coffee.

 No.1047

>>1046
Don't try this at home.

 No.1048

>>1047
Traditional.

 No.1049

>>1048
Big narration bubble!

 No.1050

>>1049
Heh, his little salute. Also, taking cellphone photos of a dead body, that's not very classy.

 No.1051

>>1050
Zooom.

 No.1052

>>1051
End of chapter, end of volume. Get excited for more! As far as storytimes go, this was pretty messy, but at least I'll get a do-over.

Feel free to use the thread to discuss anything Rin-ne related. I have some stuff I'll posting here and there for trivia's sake.

I will be returning next Saturday to dump Volume 2 of Rin-ne. I also will be dumping "My Sweet Sunday" in this thread a bit later. I normally would do it right now, but I'm actually running a bit late and I'm not particularly concerned about this thread getting archived.

 No.1054

>>1052
Thanks OP, nice to see you're sticking with it in spite of the circumstances. Rinne gets more flak than it deserves, I think.
I've occasionally seen people say that they have the impression that Mao is a rehash of Rinne, and while that's obviously not true, reading these early chapters again, Rinne does kind of come across as that same sort of stoic exorcist type before he devolves into a totally shameless bum.
Also, I somehow keep getting the nagging feeling that this translation is different from the one I've read, but I'm not on my computer right now so I can't check until later. Might just be my memory playing tricks on me.

 No.1055

>>1052
Thanks OP. It was fun.

 No.1060

My Sweet Sunday (title is written in English originally) was published on March 18th, 2009 in Shonen Sunday for its 50th Anniversary. As such, it was published after Inuyasha had been concluded for for a while and one month before Rin-ne premiered. This is a collaboration between Rumiko Takahashi and Mitsuru Adachi as they were the longest running artists in the magazine.

This translation is an official one released by VIZ. It was collected in Came the Mirror and Other Tales, which came out recently. As this is a collaboration with Mitsuru Adachi, it was also collected in the first volume of Idol A by that manga creator.

This is a auto-biographical manga which shares a lot of fun information from both manga creators about their relationship with manga both as fans and professionals.

I'm fairly certain this cover was put together for the reprint and did not feature in its original magazine publication, but I can't be sure.

 No.1061

>>1060
Self-portraits.

 No.1062

>>1061
Furinkan notes that: "Kashi-hon (貸本) is a Japanese phrase for books and magazines that are rented out."

I'm a little ashamed to admit this, but I actually haven't read any of Mitsuru Adachi's work besides his contribution here. I hear it is good!

 No.1063

>>1062
Mitsuru Adachi was 58 when this story was published.

I'm just going to post Wikipedia's definition of Gekiga for you guys.

"Gekiga (劇画, lit. 'dramatic pictures') is a style of Japanese comics aimed at adult audiences and marked by a more cinematic art style and more mature themes. Gekiga was the predominant style of adult comics in Japan in the 1960s and 1970s. It is aesthetically defined by sharp angles, hatching, and gritty lines, and thematically by realism, social engagement, maturity, and masculinity."

 No.1064

>>1063
Pretty cool. Obviously, some of these are more obscure than others for Western audiences. But feel free to look any of them up if you want to read some great manga.

 No.1065

>>1064
Oh, Furinkan actually listed the works they are famous for.

"Adachi lists his childhood favorite artists as: Takao Saito (Golgo 13), Shinji Nagashima (Hanaichi Monme), Kazuo Umezu (The Drifting Classroom), Yu Takita (Terajima-cho), Shigeru Mizuki (GeGeGe no Kitaro), Hiroshi Hirata (Satsuma Gishiden), Yoshiharu Tsuge (Screw Style), and Eiichi Arikawa (Mitsuyoshi Sonoda) (Sangokushi)."

And no, I don't know the reference (presumably to something set in Gunma) with "You're under arrest, Chuji!". Furinkan doesn't know either. I also love that second panel. I do recognize the "What a noisy star!" reference though. At least I assume I do, because it would be weird if it wasn't. It is a reference to Urusei Yatsura, a series whose title is a pun on the word Noisy (うるさい, Urusai) and the word for Star (星, sei) so うる星 (Urusei).

 No.1066

>>1065
Some Furinkan notes:

""My father was a doctor. He was also very good at drawing." - Takahashi's father was a medical doctor. After her own success she published a book of his drawings of kappa."

"The film that Rumiko Takahashi saw as a child that had such an impact on her was Anju to Zushiomaru (安寿と厨子王丸) released in English as The Orphan Brothers. This an anime film released by Toei on July 19, 1961, sees the story of Anju and Zushio, children separated from their parents and sold into slavery after their father is framed for a crime he did not commit and their mother is evicted from their land. The children struggle through many hardships in hopes of being reunited with their parents. Takahashi relates this story in an interview she did with mangaka Hiromu Arakawa."

I wish Furinkan mentioned the name of that Kappa book, I would be interested in looking more into that.

And I may as well post the relevant bit from that interview with Arakawa.

"Arakawa: Takahashi-sensei, when did you start drawing manga…?

Takahashi: I started drawing manga-like things when I entered junior high school. I drew something like a four-panel comics. Until then, I was always drawing graffiti on things. I was really scared of the scene in the animated movie The Orphan Brothers (安寿と厨子王丸/Anju to Kurashiohmaru) where the mother and children are separated and kidnapped by Sansho the Bailiff. So I drew it on the wall of my house.

Arakawa: Were you scared?

Takahashi: I was terrified.

Arakawa: After all, "regret and fear" really stay with you.

Takahashi: It has an impact, doesn't it?

Arakawa: Yes, it does. I remember a lot of scary scenes like Mermaid Forest. Also Laughing Target was scary…

Takahashi: Ah…

Arakawa: I fell in love with Urusei Yatsura and since then I've been collecting Takahashi-sensei's books, but…Did I buy Laughing Target around that time?

Takahashi: Did it come out around the time of the Urusei Yatsura you bought? Laughing Target was first published in a special issue of Sunday, but the one recorded in the book was revised considerably and the story is different…

Arakawa: Ah, is that so?"

Oh man, I didn't know the story was different in the collected form of Laughing Target. This isn't mentioned anywhere! Man and Shonen Sunday Zokan 1983 #2 is going to be impossible to find.

 No.1067

>>1066
I'm glad Furinkan documented this page for me.

"Songo-kun (そんごくん) by Fujio Akatsuka is mentioned by Takahashi as the first manga she could mentally follow and remember.
Takahashi draws a number of manga characters that were a part of her childhood. She includes the the brothers from Fujiko Akatsuka's Osomatsu-kun (おそ松くん) alongside Chibito, Dayon and Iyami from the same series. The animals from Osamu Tezuka's Wonder Three (ワンダー3), Akko from The Secrets of Akko-chan (ひみつのアッコちゃん), Sapphire from Princess Knight (リボンの騎士), Astro from Astro Boy (鉄腕アトム), Q-Taro, Doronpa and P-ko from Obake no Q-Taro (オバケのQ太郎), Leo from Jungle Emperor Leo (劇場版 ジャングル大帝).
Gakunenshi (Published by Shogakukan) are "school year magazines" (with titles like "First Grader," "Second Grad­er," etc.)."

I guess they were uncertain about the rest of them. I'm sure someone would be able to recognize them.

 No.1068

>>1067
Per Furinkan:

"The issue of Garo that Takahashi read as a child was the 1967 No. 36 issue."

They don't mention which manga it was, but I assume it pertains to something this one-shot will discuss later.

We got the tsukkomi (ツッコミ) retort gesture from a manzai (漫才) routine in Rumiko's text here.

 No.1069

>>1068
COM was a manga magazine by Osamu Tezuka that started in 1966 and unfortunately went bankrupt in 1971.

 No.1070

>>1069
Furinkan again.

"All Night Nippon (オールナイトニッポン) is a four hour, nightly radio show broadcast by Nippon Broadcasting System. It has aired since October 1, 1967 and still airs today."

 No.1071

>>1070
Here's a chunk from Wikipedia's Legacy section about COM:

"Many manga artists who submitted work to the "Gurakon" amateur section of the magazine went on to become successful manga artists, among them Katsuhiro Otomo, Hideo Azuma, Daijiro Morohoshi, Mitsuru Adachi and Hideshi Hino. Many women who made their debuts as professional manga artists in COM came to be influential artists in shōjo manga, like the Year 24 Group members Keiko Takemiya and Ryoko Yamagishi. Moto Hagio also submitted work to the magazine, but was not published, as editors did not see her submission until 1971. Murasaki Yamada, who got her start in the magazine, later mainly worked for Garo.

The magazine was influential in amateur manga circles also after its disestablishment in 1971. The amateur section Grand Companion was kept alive through various zines for amateur manga such as Manga Communication and Apple Core, the latter founded in 1972 by the Grand Companion club of the Kansai region to keep supporting the doujinshi community in the region. Some of these zines were sponsored by Mushi Production. The founders of the big doujinshi convention Comiket had been active in Grand Companion clubs before starting the critic circle Meikyū and then the convention in 1975. Yoshihiro Yonezawa, one of the founders, named the demise of COM as one of the reasons why he and others started Comiket."

 No.1072

>>1071
Presumably ネーム (name) the term used for "final rough draft of a manga" was localized as draft here to prevent confusion.

Also, Furinkan notes that:
""Puck in Music" is another radio show on TBS."

 No.1073

>>1072
Oh sorry, the Puck in Music note was for this page.

And I didn't post this note until now because I liked reveal.'

"Adachi's older brother mentioned in the story is Tsutomu Adachi (あだち勉), a manga artist in his own right. He was an assistant to the legendary mangaka Fujio Akatsuka (赤塚 不二夫) and was instrumental in shaping the destiny of his younger brother Mitsuru."

And there's another note here by Furinkan:

"Shonen Sunday and Shonen Magazine are both referenced continually in this story. While Shonen Jump is the king of weekly comics for boys in Japan nowadays, the 60s, 70s and early 80s were dominated by the rivalry of Sunday and Magazine."

Shonen Magazine obviously still exists.

 No.1074

>>1073
Furinkan covers this page pretty well.

"Yokoo Tadanori is a famous graphic designer/artist who contributed numerous eye-catching covers to Shonen Magazine in the 70s.
Ikari yo Saraba (怒りよさらば) is a three chapter story in Shonen Sunday. Takahashi specifically mentions discovering it in the second of the three chapters which would put it in Shonen Sunday 1971 Vol. 4-5.
Orochi (おろち) by Kazuo Umezu and Zeni Geba (銭ゲバ) by George Akiyama were mentioned as big hits for Shonen Sunday in this era.
Kutabare! Namida-kun (くたばれ!!涙くん) by Isami Ishii ran for 8 volumes and was featured Mitsuru Adachi as an assitant on the title."

And yes, Rumiko Takahashi was born in Niigata, Japan in case you didn't get what Mitsuru Adachi is doing.

 No.1075

>>1074
Oh the note about Ikari yo Saraba was for this page. Whoops.

And since Ryoichi Ikegami was in the Garo issue mentioned before and the tsukkomi gesture is back, I think he must've done the series she saw back at the doctor's waiting room.

 No.1076

>>1075
Furinkan notes that: ""With my spare change I got Sunday, Magazine, King, Champion, GORO and Big Comic Original." - Takahashi herself would later publish in Shonen Sunday, Big GORO, and Big Comic Original."

I really hope that image of the high school friend of Rumiko's on the right is based on a real person.

 No.1077

>>1076
Furinkan notes that: ""This is the Magazine Generation." - Ashita no Joe, Yakyuyo no Uta, Devilman, and Ai to Makoto were all being published in Shonen Magazine at this time."

Which admittedly, is just directly stated in the story so…

We actually do have some of Rumiko Takahashi's high school work because Furinkan is amazing and tracked down a copy of The Diarrhea (her high school's staple-bound doujinshi) but it doesn't feature this 40 page sci-fi story that I believe is not available anywhere. It just has her four page parody of baseball manga 虚塵の星 (Kyojin no Hoshi, or Star of Empty Trash as opposed to 巨人の星, Star of the Giants, the manga being parodied). Furinkan has not destroyed their artifact to scan it though, which is understandable. They do show it off in a youtube video though. https://www.youtube.com/watch?v=n1B_J1e1QkM

 No.1078

>>1077
Isami Ishii's most known work is 750 Rider, which was published between 1975 and 1985.

 No.1079


 No.1080

>>1079
I assume the crow originally went 阿呆 (aho) as in "idiot". Furinkan notes that: "Nine was Adachi's first manga that was entirely written and drawn by him."

So, that's what he means by first original serialized manga. For many years after starting his career, he worked on adaptations (Wikipedia says the Rainbowman was his most known adaptation) or with other writers.

 No.1081

>>1080
Furinkan notes that: "Hitari Ryoko was published in Shojo Comics, Miyuki was published in Shonen Big Comics, and Touch was in Shonen Sunday."

 No.1082

>>1081
Rumiko does not say who this super-famous editor is, but it might be somewhat obvious from the context and his depiction here. She also goes into detail about this whole experience in an interview which I'll post here:

"[Interviewer:] What kind of works did you draw in your university manga lab?

Takahashi: Slapstick gag manga as usual. Sometimes it's a little sci-fi, sometimes it's not. At the time, I was making a printed doujinshi to sell at the school festival, and when I saw it for the first time, I was really happy with how it came out. Come to think of it, one time, I was inspired by a friend to bring it to Margaret, so I brought that doujinshi to Shonen Jump. The editor in charge of Doberman Cop (ドーベルマン刑事/Dooberuman deka) was the one who looked at it, and he said, "If you draw something new, please bring it." The editor reacted like that to me when I brought it in for the first time, so I was excited.

Later, when I drew a new manga and brought it to him, he was not there, but the person who took his place was the famous Torishima-san. Torishima-san said "your drawings are still inexperienced, but there seems to be something there." He showed me the raw manuscripts of The Distant Dawn (はるかなる朝/Harukanaru Asa) and Blue City (ブルーシティー) by Yukinobu Hoshino and said, "These are professional manuscripts." I just bowed down and said, "Wow!" (laughs)

[Interviewer:] The fact that he even showed you such a valuable manuscript may have been something that stuck with Torishima-san.

Takahashi: Oh I don't know, he probably doesn't remember it."

Torishima has mentioned this factoid a relevant interview: "It seems that I also saw Rumiko Takahashi's submission, but I don't recall that. Apparently I turned it down (laughs)."

So yes, he didn't remember it.

Anyway, the course mentioned here I've discussed in the past but here's Furinkan's quick summary:
"Kazuo Koike's Gekiga Sonjuku produced other talented artists and writers like Yuji Horii, Hideyuki Kikuchi, Keisuke Itagaki, Tetsuro Hara, Marley Caribu and Naoki Yamamoto."

 No.1083

>>1082
Furinkan goes on a bit of a tangent about the facial expression here:

"The pictured face that Takahashi makes when she sees Ryoichi Ikegami is called a "diamond-shaped mouth" (ひし形の口/hishigata no kuchi). This comical expression has been used by Takahashi since the 2000s, however it did not originate with her. It was frequently used by the Tamanegi (the Onion Squad) in Mineo Maya's Patalliro! (パタリロ!) and Toshi-chan from Tsubame Kamogawa's Macaroni Horenso (マカロニほうれん荘)."

Rumiko Takahashi's love of the works of Ryoichi Ikegami is examined in quite a bit of detail in an interview on the subject here: https://www.furinkan.com/takahashi/takahashi56.html

 No.1084

>>1083
Furinkan notes that: ""I used up my spring break and submitted a 32 page SF comedy." - This would be Takahashi's debut work Katte na Yatsura (勝手なやつら)."

Katta na Yatsura is also known to Western audiences by the localized title of "Those Selfish Aliens" (to tie it into the other name for Urusei Yatsura "Those Obnoxious Aliens"). 勝手なやつら just means "selfish people" and doesn't feature a star pun though.

Here's a section from an interview about her time with Kazuo Umezz (also romanized as Kazuo Umezu).

"Takahashi: I was lucky to have been able to visit and work with Kazuo Umezu-sensei once before my debut.

Hagio: Just once?

Takahashi: Yes, now that I think about it, I think that was not because Umezu-sensei needed an assistant, but because my editor wanted to show me a professional workplace…

Hagio: And how did that go…?

Takahashi: I think we were promised three visits, but after two times, he said, "That's enough."

Hagio: Is that where you first saw a so-called professional manuscript?

Takahashi: I thought it looked so high-quality. It was so beautiful. Makoto-chan (まことちゃん) was serialized in Weekly Shonen Sunday at that time. I painted the solid area inside of Makoto's mouth.

Hagio: Do you even remember what was in the manuscript at that time?

Takahashi: Oh yes, I remember it well. It was a story about Makoto-chan and his family going to a video arcade… I helped really only once, but sometimes in books and such its presented like "I was Kazuo Umezu's assistant" (laughs).

Hagio: Now the truth comes out."

 No.1085

>>1084
"Dust Spurt" as referenced here is ダストスパート!! (Dasuto supaato!!), also known as Dust Spot!! is a comedy series that Rumiko Takahashi started that is about psychics.

I storytimed these alongside Urusei Yatsura here: https://desuarchive.org/a/thread/260346349/#260346349

 No.1086


 No.1087

>>1086
Yes, the interview this was all leading to is the one in Shonen Sunday 1982 Issue 27, which featured the first interview between Mitsuru Adachi and Rumiko Takahashi.

The interview has been translated and is on Furinkan's site if you're interested. https://furinkan.com/takahashi/takahashi52.html

And yes, the series she's brainstorming is Rin-ne!

 No.1088

>>1087
Gosho Aoyama mentioned here is the creator of Case Closed/Detective Conan among other series. He has obviously helped Shonen Sunday tremendously over the years.

 No.1089

>>1088
End! Lot of details to share here. I love this little thing because while a lot of the info can be found in interviews with Rumiko, this is a fun way to learn it all in one place. There's also just a lot of fun insights here.

As mentioned before, I'll be back Saturday with Volume 2 of Rin-ne.

 No.1098

>>880
Here's the relevant portion of the interview with the editor:

"Inuyasha was rather serious and hard-hitting, so Takahashi-sensei said, "The next one will be a comedy that can be read casually." As a big fan of Ranma 1/2 I was overjoyed to meet with her to discuss the new serial.

However, although the setting and the stage were decided upon, the image of the main character, which is the basis of Takahashi-sensei's works, seemed to be difficult for her to grasp, and then, two weeks before the start of the serialization, I suggested, "How about the main character living in a school?" "Why?" she asked, "Because he is poor!" I replied.

Suddenly, the teacher turned serious. "Poor… Poor? I see… that could be interesting." "Does being poor mean that you have been wearing the same jersey all your life?" And then, in no time at all, Rinne Rokudo was born. I remember I was so thrilled because I felt like I was witnessing the moment a character came down to Takahashi-sensei.

Sensei loves TV and always checked out the comedy programs. Her favorite comedian changed every year, and in a good way, she wasn't picky, and I think she always caught the mood of the times when it came to "what makes people laugh." The low tension interaction between Rinne and Sakura was totally novel, completely different from the high tension gag character Tatewaki Kuno, who I liked the most in Ranma.

The page I chose is from the first chapter, where the identity of the main character is revealed. Immediately after this page, Sakura has a puzzled expression on her face, "What's going on…?" The monologue is "My name is ●●! And my occupation is ●●!" and give some flavor to them. The dialogue between the two is classic…! This is my favorite scene that made me realize once again that Rumiko Takahashi is a genius.

Kyokai no RINNE 1st editor - Shunsuke Moteki (茂木俊輔)
Takahashi: Even after you were no longer assigned to this project, I was very grateful for your occasional comments. I'm very happy that it has been adapted into an anime."

I find it sort of incredible that an off-the-cuff comment two weeks before the start was what fundamentally defined Rinne Rokudo. Wouldn't be Takahashi otherwise, I guess.

 No.1099

File: 1745015423099.jpg(254.62 KB, 495x733, 62-17.jpg)

>>880
Here's the relevant portion of the interview with the editor:

"Inuyasha was rather serious and hard-hitting, so Takahashi-sensei said, "The next one will be a comedy that can be read casually." As a big fan of Ranma 1/2 I was overjoyed to meet with her to discuss the new serial.

However, although the setting and the stage were decided upon, the image of the main character, which is the basis of Takahashi-sensei's works, seemed to be difficult for her to grasp, and then, two weeks before the start of the serialization, I suggested, "How about the main character living in a school?" "Why?" she asked, "Because he is poor!" I replied.

Suddenly, the teacher turned serious. "Poor… Poor? I see… that could be interesting." "Does being poor mean that you have been wearing the same jersey all your life?" And then, in no time at all, Rinne Rokudo was born. I remember I was so thrilled because I felt like I was witnessing the moment a character came down to Takahashi-sensei.

Sensei loves TV and always checked out the comedy programs. Her favorite comedian changed every year, and in a good way, she wasn't picky, and I think she always caught the mood of the times when it came to "what makes people laugh." The low tension interaction between Rinne and Sakura was totally novel, completely different from the high tension gag character Tatewaki Kuno, who I liked the most in Ranma.

The page I chose is from the first chapter, where the identity of the main character is revealed. Immediately after this page, Sakura has a puzzled expression on her face, "What's going on…?" The monologue is "My name is ●●! And my occupation is ●●!" and give some flavor to them. The dialogue between the two is classic…! This is my favorite scene that made me realize once again that Rumiko Takahashi is a genius.

Kyokai no RINNE 1st editor - Shunsuke Moteki (茂木俊輔)
Takahashi: Even after you were no longer assigned to this project, I was very grateful for your occasional comments. I'm very happy that it has been adapted into an anime."

I find it sort of incredible that an off-the-cuff comment two weeks before the start was what fundamentally defined Rinne Rokudo. Wouldn't be Takahashi otherwise, I guess.

I messed up posting this. But I can't delete it since the password changed and I don't remember it. Whoops.

 No.1100

File: 1745015508767.jpg(319.01 KB, 867x1280, 5843909-21-22.jpg)

>>867
Here's the cover of Shonen Sunday where this chapter debuted.



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