Plot
The story focuses on Kazuma Azuma, a boy on his quest to create "Ja-pan", a national bread for Japan itself. He initially heads to Tokyo to expand his horizons at the bread-making chain Pantasia; the story continues with Azuma's exploits with his other coworkers.
The title of this series itself is a play on words; Yakitate translates to "freshly baked", but Ja-pan has a double meaning. Besides referring to the country of Japan, pan is the Japanese word for "bread" (stemming from Portuguese pão). Ja-pan is a pun for this series. This mimics the style of the names of other varieties of bread in Japanese, such as "furansupan" (French Bread), "doitsupan" (German rye-based bread), "itariapan" (Italian bread), etc.
Besides the desire to create his Ja-pan, Azuma also possesses the legendary Solar Hands (太陽の手, taiyō no te?). These hands are warmer than normal human hand temperature, and allow the dough to ferment faster. This gives him some advantage at the beginning of the series, but his innovation is his greater talent.
Although the story has baking as its main theme, the parts that generate the most interest are the outrageous puns in the story. Especially notable are the "reaction" based puns made by the judges, who go to great lengths to prove a single point about the bread that they had tasted. The series in general also pokes fun at the shōnen genre's tendency to be melodramatic over mundane tasks.
Read more about this topic: Yakitate!! Japan
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles Id read, I started relying on the expert advice of other mothersespecially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“Jamess great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofnessthat is, reluctance to engage in any direct grappling with what, in the play or story, had actually taken placeMthat his listeners often did not, in the end, know what had, to put it in another way, gone on.”
—James Thurber (18941961)
“Those blessed structures, plot and rhyme
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (19171977)