Credits
INCLUDE THIS SECTION UNALTERED IF YOU TRANSLATE THIS TO OTHER LANGUAGES
Yokohama Kaidashi Kikou—Mite, Aruki,
Yorokobumono by Teriha Katsuki.
Illustrations by Hitoshi Ashinano
Originally published by Kodansha on
October 23, 2008.
Based on Yokohama Kaidashi Kikou by
Hitoshi Ashinano, published in Monthly Afternoon (1994-2006)
Raws provided by /u/horu_hosu
English translation by H. Berry (aitch99berry@gmail.com)
Cleaned color illustrations by
Arturo Songor (@artson593)
About the translation
Introduction
“My place is Café Alpha, I've seen so many
things, so many people... and I'll never forget them.”
Hi.
First of all, thank you for taking
the time to read this. Before we begin, I thought it necessary to share a bit
about this translation—why I took on this project and what you can expect from
it.
Why translate this? That’s probably
a question some of you are asking. The short answer? Yokohama Kaidashi Kikou is
my favorite manga. When I first read it years ago, I was so captivated that I
went searching for anything more related to it and came across a mention of this
novel on Wikipedia. Looking further, I found that someone on Reddit (horu_hosu)
had scanned the entire book and made it available online.
At the time, my Japanese was still
at a beginner level. I tried reading the first page and barely understood
anything. So, I set it aside, thinking it would be a good test for my skills
once I improved. Years passed, and then YKK received an official English
translation from Seven Seas Entertainment. That news reminded me of the novel,
and I thought: Hey, I’m pretty good now—why not translate it? And so,
here we are.
I didn’t jump into it immediately,
though. Instead, I worked at a slow, deliberate pace—just as Alpha would. In
total, the translation took about a year to complete. It was a fun challenge,
and I’m happy with how it turned out.
But there are two English versions
of YKK—which one is this translation based on?
Yes, YKK has had two English
translations: a fan translation by Roselia Scanlations (released under the name
Yokohama Kaidashi Kikou Manga Scanlations) from 2003 to 2006, and the official
translation by Seven Seas Entertainment, published between 2022 and 2024.
This translation incorporates
elements from both, along with some of my own choices, but Roselia’s version
was the biggest influence. The reason is simple: it’s the version I’ve read the
most, and it’s the one most longtime fans are familiar with.
A common misconception: is this a
continuation of the manga?
Despite what Wikipedia says, this
book is not a continuation of the manga. It’s more of an alternate
universe where familiar events still occur, but with notable differences.
Author Teriha Katsuki doesn’t
attempt to replicate Hitoshi Ashinano’s storytelling style. While the novel
retains the themes of YKK, this novel should be seen as a different
interpretation rather than a seamless extension of the original. It
reinterprets familiar events rather than expanding upon them. While I
personally disagree with some of the choices made in this retelling, I still
enjoyed the book.
And I hope you do too.
On
the use of Japanese
The Book’s Title
Yokohama Kaidashi Kikou roughly
translates to Yokohama Shopping Trip. The title has been left untranslated in
this version because it’s the name most English-speaking fans of the series
recognize, and it remains unchanged in the official English release as well.
That said, some official translations do exist in other languages, such as the
French Escale à Yokohama and the Italian Yokohama Shopping Blog
while the official German and Spanish translations also kept the title
untranslated.
As for the subtitle, Seeing, Walking
& Enjoying, it was decided based on how the phrase appears throughout the
book. The wording originates from the manga, so I referenced both Roselia’s and
Seven Seas’ translations before settling on this phrasing.
Naming Conventions
Japanese names have been presented
in the Western order: first name followed by last name. So instead of Hatsuseno
Alpha, we have Alpha Hatsuseno. This follows the standard approach for English
adaptations, where readability takes precedence over strict adherence to the
original word order.
Use of Honorifics
Japanese honorifics (-san, -kun,
-sensei, etc.) have been omitted in this translation, with one major exception.
While honorifics serve an important role in Japanese by indicating levels of
formality, familiarity, and respect, they don’t always translate cleanly into
English. Instead, the nuances of relationships and speech patterns are conveyed
through word choice, tone, and context.
This approach aligns with Roselia’s
translations, which also removed honorifics. However, there is one term I felt
was best left untranslated: Ojisan.
Ojisan
The man who runs the gas stand on
the way to Café Alpha has never been given a name. In the original Japanese
manga, as well as in Roselia’s translation, Alpha simply refers to him as
Ojisan. While Ojisan can mean "uncle" when referring to a family
member, it’s also a common way to address an older man whose name you don’t
know—roughly equivalent to “Old Man” or “Mister” in English.
Roselia chose to leave Ojisan
untranslated, while Seven Seas had Alpha call him "Uncle." Initially,
I planned to go with a middle-ground approach and have Alpha call him “Old
Man,” but as the translation progressed, I realized it didn’t quite capture
their bond. The term Ojisan carries a warmth and familiarity that “Old Man”
lacks, yet calling him "Uncle" felt misleading since they’re not
actually related. In the end, I followed Roselia’s lead and kept Ojisan as-is,
treating it more like a personal nickname Alpha has for him.
Additionally, in the original
Japanese, Ojisan speaks with a thick Kanagawa accent, which is often associated
with a more rural, unsophisticated way of speaking—what Seven Seas’ translation
notes describe as “hick-like.” His accent is perhaps the strongest in the
series, and I did my best to preserve his speech patterns in a way that matched
how Roselia handled it.
Doctor Koumiishi
You’d be forgiven for forgetting
that Dr. Koumiishi was ever given a name, as it’s rarely mentioned in the
manga. In Japanese, she’s simply referred to as Sensei, a title used for
doctors, teachers, and other respected professionals. Roselia left this
untranslated, while Seven Seas opted to use "Doctor Koumiishi."
This translation follows Seven Seas’
approach. Depending on the context, she’s referred to as Doctor Koumiishi,
Doctor, or simply Doc.
The Misago
This was one of the trickier names
to decide on. Misago means “osprey” in Japanese, referring to a bird of prey
known for catching fish from the water—a fitting name given her behavior.
Once again, Roselia left the name
Misago untranslated, while Seven Seas translated it as Osprey. I ultimately
chose to keep Misago because it adds to her sense of mystery. The people of the
area don’t fully understand what she is, so they’ve given her a name that feels
both familiar and enigmatic. Calling her Osprey felt too literal and stripped
away some of that mystique.
On
annotations
As mentioned before, much of this
book is a retelling of stories from the original manga, albeit with several
changes. At the end of each chapter, you’ll find a note indicating which manga
chapters served as their basis, along with details on the changes made. For
manga chapter titles, we have used Roselia’s translations.
Throughout the book, you’ll also
find notes explaining why certain translation choices were based on Roselia’s
version, Seven Seas’, or in some cases, an entirely new approach. Additionally,
there are brief annotations to clarify small details from the manga that
readers may have forgotten, as well as occasional explanations of cultural or
contextual elements.
That’s enough preamble. Once again, thank you for reading, and welcome once more to the era of Evening Calm...
Afterword
How beauty perishes. That’s what I thought when the original manga was completed. A tranquil, emotional story set in a vividly drawn landscape. How could a world slowly heading toward death be so calm and beautiful? It made me want to go along with the flow.
Perhaps the most memorable character
is the protagonist, Alpha. She never resists the world’s gradual decline;
instead, she simply cherishes what she has. A delicate sensitivity lies behind
her carefree demeanor, and her rich sensibilities add a layer of brilliance to
the warm scenery of the Evening Calm era.
After the story ended, I was
reminded of a novel I read long ago, about a man forbidden from dying. Cursed
with immortality, the protagonist glimpses a future nightmare, where he becomes
the last human on an Earth long devoid of life, left only with a fellow
immortal mouse. The longer he lives, the more meaningless his existence
becomes.[1]
Although Alpha isn’t truly immortal,
she lives for so long that, to humans, it may as well be forever. However, I’m
certain that no matter how much time passes, Alpha will stubbornly continue to
enjoy life.
Why is that the case?
To understand this mystery, I wanted
to carefully retrace the many conversations Alpha had with the people she loved
during her time at the café, especially the farewells she had to say to those
she cared for most. For a robot that cannot experience time the way humans do,
living is synonymous with being left behind. Some grow up and leave; others
reach the end of their lifetimes. In the end, everyone must say goodbye to
Alpha.
I wonder how many emotions swelled
in her heart every time that happened.
I believe this is the source of
Alpha’s strength.
In this novel, I briefly touch on
the circumstances that led to the world of YKK as we know it. But this is just
one of countless possibilities. How did the era of Evening Calm come about?
What was the true purpose of robots? I don’t know the answers to these
questions, and I’m not even sure if such answers exist. This novel is merely
one possible interpretation.
Finally, I want to express my
sincere gratitude to Hitoshi Ashinano and everyone at Kodansha for graciously
allowing this novel and for providing so many wonderful illustrations.
And I wish all the best to Alpha and Omega as they continue their journey through the era beyond the Night of Humanity.
Teriha Katsuki[2]
[1] The book in
question is Simone de Beauvoir's All Men are Mortal
[2] Ommited on this translation. On the original Japanese release, this book
also includes the manga chapter “Mountain Pass” usually regarded as chapter
140.5 or Epilogue in fantranslations. You can easily find it online, though
sadly in rather subpar quality. It’s also included in the final volume of the
Seven Seas translation, there simply titled “Pass”.
Bonus: Interview with Hitoshi Ashinano
As a bonus for this
fan translation, we have included a lengthy interview with Hitoshi Ashinano,
conducted for the Yokohama Kaidashi Kikou Artbook, originally released in Japan
on March 20, 2003.
This interview is
not included in the Japanese version of the novel.
Nostalgic yet vivid
scenery, the lovable Alpha, the people and the things… It has been about nine
years since he began illustrating the era of Evening Calm. Now that the series
has surpassed one hundred chapters, the author and the editor who brought Yokohama
Kaidashi Kikou to the world sat down for a conversation.
Let’s start from
the beginning. The first chapter, often called Prologue or Chapter 0, won the
Shiki Prize at the 29th Shikisho Spring Contest[1] in 1994. By
then, you had already drafted Chapter 2: The Misago of the Bay, right?
Not exactly. I was
originally working on what was then an unrelated story about a boy and the
Misago. It was only later that I connected the two.
I see. By the time
I read a draft of that chapter, the connection was already there. So, the first
chapter, The Smell of Steel in the Evening, was the first you were commissioned
to create, right?
That’s right. At
first, I tried to forcefully merge two completely different stories, but I felt
that Chapter 0 and Chapter 2 were too different. Chapter 0 is about a female
robot riding a scooter—it felt so far removed from the Misago that I couldn’t
see them relating to each other. In the beginning, I was just drawing whatever
I wanted.
Kokone was there
from the start, too. She appears in an early sketch you showed me.
Yes, though I
hadn’t yet decided how she and Alpha would meet.
The original
setting of Musashino wasn’t in place at the start either—that came later.
Right. I figured if
the story was about a girl riding a scooter, Musashino would work as a setting,
so I decided to have Alpha live there.
Ayase and the kamas
also appear in early sketches. It seems like you had a lot planned out from the
start.
Since the world of
YKK is so different from the real world, I thought it would be interesting to
include a job that doesn’t exist, Ayase would be like a falconer.
There’s also an
illustration of Ayase used in Volume 2 that you drew before serialization
began.
His design changed
a lot, though—his face evolved, and the kamas’ legs are different from the
initial concept.
So, the worldview
of YKK wasn’t fully established from the start—it took shape as the series
progressed?
That’s right. The
title of the series was based on the atmosphere of Chapter 0, but there wasn’t
much else in place. Initially, I hadn’t even set Alpha as the main character.
When I submitted Chapter 0, I hadn’t thought much about the world at all.
Things gradually
expanded as the story moved forward. I remember at the start, we had a lot of
meetings where I would ask, ‘What’s going on in this world?’ But soon enough, I
let you run free.
In the beginning,
Alpha did a thorough job of explaining the scenery.
Was the Tarpon
planned from the start?
No, it wasn’t.
But there’s a
predecessor to Alpha in it, right?
Yes. If Alpha isn’t
the first robot, then there must have been another before her.
Serialization
progressed smoothly. By the time we discussed Volume 3, you were already
planning a story about a typhoon.
Originally, I
wasn’t planning for the café to be so important. And I wanted to depict a
typhoon in the countryside.
I remember being
very interested when you told me about it. When I asked what would happen next,
you said, ‘The café will be destroyed.’ I panicked and told you to delay it a
few years (laughs). Originally, the typhoon would have happened much earlier.[2]
Yes, the café isn’t
very sturdy—it would’ve been destroyed by a typhoon.
The typhoon finally
arrived in Volume 5, and in Volume 6, Alpha goes on a trip. If the café had
simply closed, those stories wouldn’t have been possible.
I decided to make
full use of the café while it was still standing, because once it was gone, it
would be gone for good.
But you decided to
spare the house.
Yes, though the
house is rarely used in the story. Originally, I planned for Alpha to
temporarily reopen the café at the gas stand, running it alongside Ojisan or
something. But in the end, I felt she should move on completely. For a while, I
even considered destroying the house as well, leaving only the foundation.
I remember that.
You once told me you were considering having the sea wash everything away so
that Alpha would rebuild the café at the gas station.
The world kept
changing. At first, it felt like everything was falling apart, but over time,
we softened that idea so things weren’t quite so bleak.
There were also
plans for Alpha to visit a big city.
Yes, Akihabara. But
I didn’t want to draw all that.
Akihabara is sunken
in YKK.
Yes, like Venice—people
would travel by boat. In the electronics district, the second floor of a
building would serve as a dock. The further you got from Kanda, the closer you
would be to the sea.
That would have
been difficult to draw (laughs). Lots of landscapes.
I remember we even
discussed how some of the market stalls could become good fishing spots.
You don’t really do
research on scenery, right? Instead of referencing real places, you create
something that feels familiar but doesn’t actually exist.
I like to work from
memory—places I’ve seen before.
But you sometimes
take photographs. Do you use them as reference material?
Not really. I use
them to remember.
So you don’t look
at them while drawing?
Sometimes, but if I
rely on them too much, it feels too obvious. When I was young, I once saw a
road covered by the waves. I drew from that memory.
That’s something I
immediately understood when I first read the manga. I grew up in Yokohama, too.
When I first saw Alpha’s house, it reminded me of an abandoned house near a
former military base. I think I was still in elementary school—about forty years
ago. Back then, there were many U.S. military bases in the area, but after they
were withdrawn, a lot of abandoned buildings were left behind. I often went
inside to explore.
Redevelopment
started in the 1980s, so those places are mostly gone now, but back then, there
were many abandoned buildings, slowly decaying for no reason.
Maybe because I was
a kid, but I remember going in without hesitation.
It depended on the
area, but its not as if they housed anything dangerous. Where I lived, there
were remnants of old radar bases.
Some abandoned
houses were still in good condition, while others looked like they hadn’t been
touched for years. It was a strange sight.
And the roads were
falling apart, too.
There’s something
about a slowly decaying landscape that fascinates me. As a kid, it was exciting
to explore such places. But those landscapes don’t exist anymore.
The standard of
living was clearly different back then. The houses where Americans and Japanese
lived even had different colors—they felt so distinct from one another. And
even though they were all abandoned at the same time, the military bases were
the first to decay. It felt really strange.
And such scenery is
reflected in your work. Were there bigger plans for Alpha’s Owner?
I originally
planned for him to return early on.
I remember that.
But as the story
kept going and other characters developed, he didn’t feel necessary anymore.
Another idea that
changed over time.
My stance hasn’t
changed on that, but since he’s been away for so long, I started to think there
must be some meaning to it.
There’s also the
mysterious history of the robots.
That’s something I
came up with while working—it was never intended to be a big mystery. At first,
I just drew a robot in an interesting setting. I hadn’t thought about her
purpose or what the Alpha-type robots were.
Right, the Alpha
type came about as an experiment to record human senses—that’s how we have the
types 1 to 6. Alpha came about when putting it all together.
That’s not
something I’ve thought deeply about. While it wasn’t what her creators
intended, something that looks and acts human ended up remaining in place of
humans. I guess it’s the will of nature instead. I wanted the Alpha type to be
robots “born” from nature, something “left behind” by people.
I see. Talking
about the setting, how did the era of Evening Calm come about? Was it man-made
or some kind of divine intervention?
At first, I thought
it’d be because of some natural cycle, not global warming, environmental
destruction, or anything like that. In my hometown, there are many Jomon-period
ruins, and the sea level has constantly risen and fallen. Thinking about that,
it’s easy to imagine what would happen if the sea level rose now.
What would the
coastline look like if the sea level rose some 12 to 15 meters? If you check a
map and see a coastline, you’ll assume it’s always been like that, but for
nature, this is just a snapshot. The coastline constantly changes. I remember
checking Minami—that place was once an inlet, probably with seawater until the
Kamakura period. In the cycle of nature, humans are just a blink. It’s not as
if humans did something and the world became like this. We simply live at the
mercy of nature.
The name Evening
Calm comes from the idea that things are slow and relaxed—because it’s an
easygoing era (laughs).
Another mystery is
the mapolo...
I don’t know much
about that.
At least tell me
about the mapolo syrup.
It looks like maple
syrup, but I don’t know if it’s tasty.
Is it real?
It is not.
Moving on. The
manga has seen some adaptations—the first was a drama CD.
Right, Hekiru
Shiina voiced Alpha on a radio show.
Exactly. The CDs
sold well, so it was later adapted into an anime. I wondered who could possibly
turn something like YKK into anime (laughs). Sony asked me if Takashi Anno[3] would be a
good choice. I thought he’d be perfect, and so the anime was made.
I didn’t know how
it would turn out.
I remember you were
quite surprised after Studio Biho showed you what they made.
They even got the
smallest details that nobody would notice. Stuff like a doorknob, for
example—it looked better than what I could draw.
Did you ever make a
detailed sketch of the café?
I did. It’s
included in volume 5, though it’s a simple, haphazardly made floor plan. I have
a rough idea of what it looks like, but I don’t want to draw it in too much
detail.
Even where the
tables are set was thought out.
Not really.
Moving to a
different topic. While drawing, do you picture the illustrations in color?
Yes. Actually, I’d
like to draw everything in color.
Right, but that
takes longer to make (laughs).
The toning process
is longer, but I don’t find coloring difficult at all.
When you think of a
scene, do you already plan the colors? Like how blue the sky is?
If it’s something
interesting, I plan around that color.
From what you’ve
made over the years, it’s clear you love drawing in color.
I never thought I’d
be able to do so much—I feel really lucky.
You really enjoy
drawing landscapes.
I do.
To finish, please
say something to the fans who bought this (artbook).
One of the
highlights is that the pages have been arranged around a color theme.
Pay attention to
the colors.
The (artbook) was created
with a theme—a sense of gradual color change. It’s not something you’d notice
at first glance, but I hope you can feel it.
Profile: Teriha Katsuki
Teriha Katsuki was born in 1973. In
2007, her novel Crystal Visionary was a finalist for the 14th Japan Horror
Novel Award Short Story Prize. She made her debut in 2008 with the novel
Yokohama Kaidashi Kikou: Seeing, Walking and Enjoying.
Profile: Hitoshi Ashinano
Hitoshi Ashinano was born on April
25, 1963, in Yokosuka, Japan. He first gained recognition in 1994 when he won
the Shiki Prize in the 29th Shikisho Spring Contest for his work Yokohama
Kaidashi Kikou, which subsequently led to its serialization. Prior to his
debut, Ashinano worked under the pen name suuke, created various doujinshi,
including works of adult content. He also honed his craft as an assistant to
Kousuke Fujishima, the renowned creator of Oh My Goddess!
Yokohama Kaidashi Kikou was
serialized from 1994 to 2006, and it became a beloved series, known for its
unique blend of nostalgia, slow-paced storytelling, and tranquil worldbuilding.
The manga garnered multiple accolades, including the 2007 Seiun Award for Best
Science Fiction Manga. Ashinano's work is noted for its calming, introspective
tone, often combining minimal dialogue with a sense of mystery, which captures
the quiet beauty of the world.
His other works include Position
(1996-1997), Kabu no Isaki (2005-2011), and Kotonoba Drive (2013-2017)
After completing Kotonoba Drive, Ashinano has maintained a low public profile. There have been no significant updates regarding his professional endeavors or new publications since then.
[1] A yearly manga contest ran by Kodansha to look for new authors. They still do it to this day, other noteworthy winners include Yuki Urushibara (Mushishi), Masakazu Ishiguro (Heavenly Delusion) and Misaki Takamatsu (Skip & Loafer)
[2] Had things
gone as Ashinano originally planned, then the typhoon would’ve arrived around
the same time Alpha goes to see the lights of Yokosuka.
[3] Anime director
mostly active in the 80s and 90s that worked on the 1998 YKK OVAs. He also
worked on Urusei Yatsura, Maison Ikkoku and Creamy Mami, among others.
Contents
Prologue
The Colors of Evening Calm
An Azure Shadow
Warm Hands
A Robot Dancing in the Light
Stars at the Bottom of the Cove
Time Spiral
The One Who Travels Through the Skies
Heron Cross
Flying Eyes
Epilogue
Afterword, Interview and Download links
Download Links
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