This is an excerpt from "寄生獣” (Parasyte). There are two mimetic words in this excerpt. "piQ" (2 morae) is a giongo, depicting the sound of catching the knife while "petiN" (3 morae) is a giongo expressing the sound of the knife cut into halves. According to Hamano (1998), "p" in petiN is associated with "taut surface" while "ti" is related to "coming into close contact." Therefore, "petiN" expresses the sound of "two objects with taut surfaces coming into close contact."

On this page the reader is able to find a lot of mimetic reaching from a dynamic ボヒャソBohyaso, what regarding to Hamano (1998) with the b coming implies a taut surface with heavy sounds, the hya implying a swinging or unreliable motion, the last vowel of s gives a soft contact or friction across the surface, to a repeating ボイボイボイ boi boi boi. What also indicates a repeating hit on a taut surface that makes heavy sounds, in between you can find the describing sound of something splashing against a wall what is described with ビタソbitaso here as well is found the repeating use of the b this this time in connection with t and s giving the feeling of hitting the surface or coming into close contact with something while the s loud signals once again soft contact or friction. The last mimetic is symbolic for the sliding down the wall followed by ズル。。。zuru, giving the reader, the feeling of a non viscous body and quietness while the r gives the image of a rolling or fluid movement.  Furthermore, you can find the gairaigo wordスキルwhat comes from the English word Skill. Also able to be found is the word 水圧推進 what shows the characteristics of a kango word. Followed by the the two wago words 獲得 andしました .

This is an excerpt from the "Sazae-San" manga. This except depicts two different uses of the same giongo, "gara" in different panels. According to Hamano (1998), a consonant of "g" in the first mora represents something heavy or large and is associated with a "hard surface", while the initial consonant of "r" in the second mora represents a rolling or fluid motion. As such, the combination of "gara" can be said to express a rolling or fluid motion that moves a hard surface. In addition to the "gara" giongo, the mimetic is also followed by symbols that look like multiple instances of the Japanese "ku" mora, which is a classic symbol of reduplication. In the left panel, The "gara" sound represents the door sliding open, with the two reduplications (likely expressing an additional two "gara"s) representing the door rattling more than normal due to the person opening the door harder or more roughly than usual with their foot. In the right panel, "gara" is still used to represent a rolling/fluid motion of a hard surface (in this case, the noise of the sewing machine), though the inclusion of a second "gara" and the extra reduplication symbols gives this instance a distinct "repeating" context of the ongoing operation of the machine that the first example lacks.

This is an excerpt from the "Nichijou" manga. This excerpt features examples of two different mimetics, one being giongo ("doQ") and one being gijogo ("atafuta"). According to Hamano (1998), the giongo example's initial consonant of "d" represents a heavy/large sound associated with a lack of surface tension, and as such can be described as a heavy impact that is not resisted. In this case, this giongo represents the heavy strike of the deer's head landing on a region without surface tension that warps under its power, in this case the man's stomach. Additionally, the addition of the "Q" ending, representing a glottal stop or sudden end to the noise, gives the giongo the context of being a single quick sound that ends abruptly. As for the second example, as gijogo this mimetic "atafuta" represents the girl's emotional state of being in a panic/hurried, rather than any associated to her actual movement.

In the second speech bubble there appears to be an example of Morpho-orthographic truncation with M C, which likely means "master of ceremonies", or the person who gives speeches between band performance.

There is also an example of morphosemantic compounding in the word "バンドマン", combining the loan words band and man to create a word that doesn't exist in English.

The first scene I’ve chosen displays two girls playing the shamisen. When considering Hamano 1998, we see that the initial /b/ sound in be can represent “a taught surface”, and the /n/ sound in C2 can represent “elasticity”. These two adjectives accurately describe the behaviour of the strings on this instrument

 キャプテン 　

The second excerpt I chose is of a character (Shachi) exclaiming the loan word ‘kyaputen’. Initially, I thought this was a play on words. I thought the loan word would simply be ‘kaputen’, and the [y] was added in due to the nature of how the word was being said. Shachi was expressing shock and admiration. ‘Kya-’ is a mimetic which can be described as such.

This however is not the case. The loanword does originally include the /y/ sound. I believe that this is to better mimic the /æ/ sound used in the English word. In Japanese, ‘a’ (a, ka, sa, etc) sounds typically make more of an /a/ or /ɑ/ sound. However by adding the glide /y/ to transition between the /i/ and /a/ phonemes, an /æ/ sound is produced, which better mimics the sound produced in the English word.

First, as we know, the world of Japanese fashion is filled with gairaigo.  In the top-center of the page, we can observe an example of back-clipping in the word Tシャツワンピ  where the final ―スis dropped .  It is easy to guess the meaning of this clipped word (t-shirt one-piece, or shirt-dress).  Often the forefront of such words leaves much context for us to draw from and is more important than what has been deleted towards the end. 

Second, at the top of the page, we see the phrase かわものザックザク.  The choice to use the mimetic ザックザク in this case is very interesting.  ザックザク is a word which has a few different meanings, one of which expresses the state of having a lot of gold, like a pirate’s treasure chest overflowing.  In this example, we can gather that this brand resale website is absolutely packed full and overflowing with cute things. 

In the image, we repeatedly see the mimetic word パリパリっ (paripariQ).  If we refer to the generalizations described in the reading regarding mimetics, we can begin to understand this word better.  For instance, the initial ‘p’ in this instance describes the taut surface and the nature of a breaking sound, while the suffixal ‘-Q’ indicates a indicates a sense of punctuality and that the break is carried out forcefully in a single direction.

The word パリパリ (paripari), meaning crunchy, is already applicable to this product.  However, adding the suffixal geminate consonant really ads a sort of intensity to that crunchiness.  I personally am a fan of this ice cream, and I think this mimetic descriptor is spot on—so spot on, that there really isn’t a need for any other descriptors to be on the packaging other than the flavor, as you can see.

The dokii text is the mimic of a heartbeat/being shy

“さらさら” is an adverbial noun which is not hard to guess in this context without any indication such as “な”. It is understood as a description rather than an addition or classification. “さらさら” is also a mimetic word that describes the state of hair and therefore being of a the phenomimes or gitaigo type. The “さ” represents a lightly freely fluid liquid with a light flow and the “ら” represents movement by Kimi Akita and Natsuko Tsujimarus attempt to make understanding mimetics easier. In this specific case “さらさら” does not seem to convey the analyzed meaning. “さらさら” seems to describe the condition of freshly washed hair.

“グリーンアップル” is an English word that was absorbed into Japanese and that is one of the reasons it classifies as a loan word. It is a nouns which is obvious considering the “の” that is used to connect it to “ローズ”. “グリーンアップル” was rather directly adapted showing no signs of compound clipping or ellipsis.